San Francisco Bay Guardian

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Ed Lee on the stand

Mayor testifies in corruption trial P8

Noise Pop at 20

Reminiscing with Archers of Loaf, Imperial Teen, and more P19

In the now

“Black Choreographers Festival: Here and Now” opens strong P23

‘California’s Best Large Weekly’ – California Newspaper Publishers Association

celebrating 45 years

the san francisco bay guardian | sfbg.com february 15 - 21, 2012 | Vol. 46, No. 20 | Free

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FEBRUARY 15 - 21, 2012 / SFBG.com

SAN FRANCISCO BAY GUARDIAN

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The mayor and MTA are afraid of ruffling a few feathers to do what they know is right. editor’s notes

NEWS

How business was done

Tim Redmond tredmond@sfbg.com

Mayor Lee testifies in corruption lawsuit that could cost the city $10 million P8

OPINION When Mayor Ed Lee announced in February 2011 that he understood both the critical importance and the severe dangers inherent in the current bicycle infrastructure along the dual three-block stretches of Fell and Oak between Scott and Baker, a shot went through the community of people who had worked for so long to bring awareness to this troubled path. Finally, it seemed, we had a mayor who understood that if San Francisco was serious about living up to its own nearly 40-year-old pledge to be a transit-first city, a narrow bike lane sandwiched between parked cars and fast-moving traffic on Fell Street and a complete absence of any bicycle infrastructure on Oak simply wouldn’t do. Finally, we had a mayor who wouldn’t be satisfied with mere

Sometimes I love my Internet trolls. Not very often — mostly, the anonymous folks who call me a success-hating commie who’s just jealous because he wasn’t smart enough to start Facebook seem to come from somewhere far to the right of San Francisco. And they’re rude. And they won’t give their names. And fuck all of you, ya know? But someone came along the other day and made a comment that so perfectly summarizes everything that’s wrong with American political economics today that I just wanted to wave it around like a flag and tell everyone: This is it. This is the problem we’re facing. Wrapped up in two perfect sentences. I had written a blog about how little tax Mark Zuckerberg will pay on his massive wealth when Facebook goes public. According to the company’s filings with the Securities and Exchange Commission, Zuckerberg intends to exercise $5 billion worth of stock options (out of $28 billion he will own). If he does that, he’ll pay almost 40 percent in state and federal taxes — that’s $2 billion — making him perhaps the single largest taxpayer in US history. But he may never pay a penny of tax on the other $23 billion. So his actual effective tax rate is about 7 percent — far less than even low-income Americans typically pay. Now, my trolls complained that I hate America and all that, and they said taxes are too high anyway. Then came this, from someone named DanO: “I can’t get too upset about a guy’s tax rate when he has already dedicated the bulk of his fortune to worthwhile causes. In this case, I have more faith in Z getting his money into beneficial hands than I do the State of CA.” There — right there. That’s the Republican mantra, going back to Ronald Reagan: American families know what to do with their money better than the government (that’s gummint to you) does. Better to let the rich give their money to charity than to tax it and let the corrupt politicians give it away.

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The bubble is back

City policies are encouraging a new tech boom — but have we learned any lessons from the last one? P10

The Facebook Eight

San Francisco’s new gazillionaires will keep most of their wealth while the public sector shrinks P11

Weblining

From armed forces recruitment, educational opportunities — your Internet is profiling you P13

We’re trying to buy a condo in SF. LOL. P13 herbwise P14 food + drink

appetite P15 cheap eats P16 picks

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Everlasting noise

It’s 20 years of Noise Pop; tender memories with Archers of Loaf, Cursive, Thao, and more P19

Symmetry

Is Glass Candy producer Johnny Jewel’s recent project his allegedly scrapped Drive score? P20

Noise Pop events P20 Bounce with me P21 trash P22 In the now

Opening-weekend triumphs at the 2012 Black Choreographers Festival P23

Living the green dream Conservation (and good storytelling) inspire Ann and Steve Dunsky P24

No country

“Bros Before Hos” tackles the rough business of being a man P25

hairy eyeball P26 super ego P27 MUSIC listings 28 / STAGE listings 32 on the cheap 33 / FILM listings 34 CLASSIFIEDS 37 editorials

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Mayor Lee’s vanishing bike lanes

the guardian editorial

Saving money on sunshine EDITORIAL We hate to keep picking on Scott Wiener, who is a polite guy who always takes our calls and takes public policy seriously. He’s got an extensive legislative agenda — good for him — and he’s effective at getting bills passed. We’re with him on nightlife, and even on nudity towels in the Castro. But he’s been taking on some more disturbing causes of late — he’s managed to tighten the rules for the use of Harvey Milk Plaza and now he’s asking for an audit of the Sunshine Ordinance Task Force that looks at how much each city department spends responding to sunshine requests. We’re not against audits or government efficiency, but this could lead to a lot of mischief. There are plenty of problems with the task force, which hears complaints against city agencies that are denying the public access to documents. The biggest picks

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problem is that the task force has no enforcement authority — when the members find an agency or official to have willfully defied the law, the best they can do is turn those findings over to the Ethics Commission, which simply drops the case. Nobody ever gets charged with anything or gets in any trouble for refusing to follow what every public official in town piously insists is an excellent law. And yeah, the meetings run long, and sometimes city employees have to sit around for hours waiting for their cases to come up. (Activists who testify before city commissions are used to that, but city employees are on the clock, and Wiener’s worried that it’s running up a large bill.) But nobody’s talking about the money that the city has saved by those annoying government watchdogs keeping an eye on CONTINUES ON PAGE >>

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By Morgan Fitzgibbons

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february 15 - 21, 2012 / SFBG.com

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saving money on sunshine CONT>>

public spending — through the use of the Sunshine Ordinance. Nor is anyone talking about the immense amount of time activists and journalists have to spend fighting over records that should have been public in the first place — or how much money the Task Force has saved the city by creating a forum for resolving these issues out of court. We can see the outcome here: The audit will show some large number, some cash amount with a bunch of zeros behind it, and the Chronicle will run a big headline about the high cost of this sunshine bureaucracy — and someone will suggest we find ways to streamline the process by clipping the task force’s wings. That’s the wrong approach — particularly when there’s a much easier answer. Why not do what sunshine activists have suggested for years — make electronic copies of every document created by any city agency and post them in a database on the web? No more secrecy, no more hassle. It’s easy — if anyone at City Hall is serious about saving money on sunshine requests. 2

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mayor lee’s vanishing bike lanes CONT>>

words on a page, who had the courage to carve out one single safe bike route from the east side of town to the west, to create a viable alternative to automobile transportation, to prepare our city for the inevitable challenges presented by climate change, peak oil, and economic collapse, and to do it in the face of the predictable objections from a few small-picture citizens who couldn’t look at the 60 square feet of a parking spot and imagine anything other than a privately owned two-ton pile of steel taking up precious public space. The community of people who had waited nearly 40 years for the city to live up to its own word kept on waiting throughout 2011, patiently allowing the Municipal Transportation Agency to perform its due diligence, attending multiple public meetings in the hundreds, and delivering a resounding verdict: bring us our separated bike lanes. Make this neighborhood a better place to live. Begin the long work of preparing our city for a way of living SAN FRANCISCO BAY GUARDIAN

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that doesn’t center around the automobile. With the public process complete and the calendar turning to nearly one year since Lee called for the MTA to “move quickly” to create separated bike lanes on Fell and Oak, the MTA handed down a jarring announcement. The Fell and Oak Bikeways were being delayed because the agency needed to take extra time to do all that could be done to find nearby replacements for the 80 parking spots set to be removed for the bike lanes. That’s right — in a city that has for 40 years had an explicit policy of giving preference to transit options that weren’t the automobile, in a city that, nevertheless, has over 440,000 public parking spots and zero safe, accessible bike routes from the east side of town to the west, the creation of a separated bikeway that the vast majority of the community wants, and that the mayor’s own newly appointed District Supervisor, Christina Olague, is in support of, was being delayed by nearly a year so that the loss of private automobile parking would be as small as possible. How does this happen? In a word: fear. The mayor and MTA are afraid of ruffling a few feathers to do what they know is right. Cities like New York, Portland and Minneapolis are leapfrogging us in building the cities of tomorrow. Chicago is creating 100 miles of separated bike lanes in the next four years. Don’t call us America’s Greenest City — you’re thinking of the San Francisco of 40 years ago. 2 Morgan Fitzgibbons is co-founder of the Wigg Party. editor’s notes CONT>>

I feel as if I’m being transported back to the Middle Ages, when the noble king, the monarch of the realm, would upon occasion grant a boon to his loyal subjects — maybe free some peasant farmer of his debts, or hand out a few extra barrels of mead. Drink up, commoners, then kneel and bow to your lord. Representative democracy sucks, and tax money is wasted and decisions by elected officials are often wrong. But it’s still better than living under economic monarchy, no matter how bountiful is the grace of our masters. 2

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Mayor Ed Lee (with attorney joe cotchett) heads for the courtroom to testify in a case where the most politically explosive charges went largely unexplored. | Photo by Luke Thomas/Fog City Journal

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Politics Missed the state Democratic Convention? We’ve got your guide to coverage right here Burning Man tries to quell the uproar over its tickets shortfalls -- who wins and who loses? NIMBYs and live music fans clash over the struggle for Golden Gate Park festival permits

Noise Live Shots captures the glory of a Los Campesinos! show en vivo He left his heart in San Francisco: Sean McCourt covers Tony Bennett Valentine’s Day takeover of our town In Localized Appreesh, local Sri Lankin singer-songwriter Bhi Bhiman celebrates the release of his rootsAmericana album

Pixel Vision Great news for all you sewing sweethearts: Eliza Fernand’s traveling Quilt Projects alights on the Bay Area for weekly sewing circles You brew? SF Beer Week coverage til our paunch can’t take no more

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How business was done

Mayor Lee testifies in corruption lawsuit that could cost the city $10 million By Luke Thomas news@sfbg.com A complicated civil lawsuit alleging corruption and fraud and involving several prominent current and former city officials — including Mayor Ed Lee, who took the witness stand to discuss actions he took as city purchaser a decade ago — could end up costing city taxpayers as much as $10 million. City and County of San Francisco vs. Cobra Solutions and Telecon was being deliberated by jurors in Superior Court at press time. It centers on a fraud and kickback scheme engineered by convicted felon Marcus Armstrong, a former Department of Building Inspection information technology manager who bilked the city out of at least $482,000 between 1999 and 2001 (see “Dirty Business,” 2/8/11). His scheme was exposed by an FBI investigation following a whistleblower’s complaints in September 2001 that sub-contractors were not being paid. The City Attorney’s Office accused Cobra Solutions of participating in Armstrong’s fraud, but Cobra’s owners denied being part of the scheme and they say their business was wrongfully damaged when their contracts were frozen by city officials. Armstrong created two phony companies, Monarch Enterprises and Mindstorm Technologies, and ordered master contractor editorials

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Cobra Solutions to use the phony sub-contractor companies to provide technology services to the city’s Computer Store (a list of approved contractors) under an agreement awarded to Cobra by the Committee on Information Technology (COIT). It also partnered with another company alleged by the city to be fraudulent, Government Computer Sales, Inc. (GCSI), whose principals fled and whose whereabouts are unknown. Cobra Solutions founder and president James Brady had raised questions about Armstrong as early as 2000, questions that triggered an unfruitful investigation by the city. Brady maintained in court testimony that Cobra, unaware of Armstrong’s fraud, relied on him to sign off on work services that Armstrong’s phony companies were supposed to have supplied to the city. The Computer Store was set up by then-Purchaser Ed Lee under the administration of then-Mayor Willie Brown to centralize technology procurement across departments. Mayor Lee was deposed in the case and called to the witness stand on Feb. 6, where he said he awarded Cobra Solutions the highest-rated ranking among several vendors being evaluated by COIT for master contract award status. Each of the other city evaluators, including Deputy Controller Monique Zmuda, also ranked Cobra the top service provider. According to Armstrong’s guilty plea agreement, GCSI partnered

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with Armstrong to defraud the City out of $240,000. Deborah Vincent James — then-director of COIT and now deceased — testified in a pre-trial deposition that GCSI was “fraudulent,” that city staffers recommended against certifying the company, and that it was only awarded master contract status because of its political ties to Brown, who directed Lee to overrule the staff recommendation. In his deposition, Lee claimed he could not remember GCSI. Vincent-James and former Purchasing Directory Judith Blackwell forwarded whistleblower complaints about GCSI to the City Attorney’s Office in early 2001, but neither that office nor the Controller’s Office acted on the complaints until GCSI had gone bankrupt and GCSI’s owners, two foreign nationals, had disappeared. Of note, Lee was not questioned about his and Brown’s involvement in awarding GCSI its master contract status in 1998. Time restrictions placed on attorneys by Judge James McBride limited the scope of witness examinations, so the most politically explosive charges went largely unexplored in court. The city completed a subsequent investigation in January 2003 that resulted in stopped payments to Cobra, contract termination, and the city’s civil lawsuit filed by City Attorney Dennis Herrera against Cobra in April 2003. Following Herrera’s filing against Cobra, music listings

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Herrera demanded an audit of Cobra which Cobra refused, citing a conflict of interest. Herrera had previously represented Cobra in private practice before he was elected City Attorney in 2001. A trial court ruled in July 2003 that Herrera had a conflict of interest, disqualifying Herrera and his office from participating in the Cobra case, a ruling later upheld by the California Supreme Court. Yet the suit alleges Herrera and his office continued to supply work to various City agencies and to effectively prevent Cobra from doing further business with city. By withholding the $2 million Cobra was owed by the City, COIT was able to debar Cobra from entering into master contract agreements with the city, claiming Cobra was fiscally “non-responsible,” according to court testimony. Blackwell, in her testimony at trial, said the determination of Cobra’s non-responsibility was used as a “pretext” for Cobra’s debarment, a procedure that should have triggered a hearing to allow Cobra to defend itself against debarment. That never happened. An FBI investigation into Armstrong’s kickback scheme resulted in Armstrong pleading guilty to mail fraud, wire fraud, and obstruction of justice in July 2003. No criminal charges were ever brought against Cobra Solutions or Telecon and yet the city’s outside law firm, Cotchett, Pitre & McCarthy LLP, which tried the case on behalf of the city, held on to the city’s allegation of fraud committed by Cobra and Telecon throughout the case and trial until closing arguments on Feb. 9. In his closing arguments, attorney Ara Jabagchourian made no mention of Telecon, effectively dropping the city’s claims against Telecon, and constricted the city’s damage claims against Cobra. He asked the jury to award the city up to $266,000, money paid to Cobra for work authorized and signed-off by the city, via Armstrong, for breaching a provision in the contract agreement between the city and Cobra that requires the master contractor to “supervise” sub-contractors. But Cobra’s lawyers — the firm of Gonzalez & Leigh, which includes former Board of Supervisors President Matt Gonzalez, who took a leave from his current job as deputy public defender to consult on the case — says it is the city that should pay for fatally harming a business without just cause.

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“The City and City Attorney’s office falsely accused Cobra and Telecon of stealing $2.4 million dollars from the City, destroying these companies and ruining the lives of good, decent people who were the victims of a city tech official who should not have been hired in the first place,� said attorney Whitney Leigh. “Then the City Attorney made it worse, flatly defying an order disqualifying the City Attorney’s Office and instead driving efforts to run Cobra and Telecon out of business just because Cobra raised the issue of the conflict of interest. I’ve been unable to find any case in which an attorney has so flagrantly ignored a disqualification order.� Herrera can’t comment on the case, but his office previously told the Guardian, “Immediately upon discovery of Cobra’s role, the office screened Herrera off from further involvement in the investigation and all matters related to it in accordance with a stringent ethical screening policy Herrera established when he took office.� Then-City Controller Ed Harrington, who exerted significant influence over contract awards and debarment proceedings as chair of COIT, conceded in court testimony that internal controls failed to detect Armstrong’s scheme. “In the case of Marcus Armstrong, the control within the city failed and the control within Cobra failed,� Harrington, now head of the San Francisco Public Utilities Commission, told the court. “We had both controls in place. If they had worked, the city would have been protected. Both failed.� Cobra is seeking damages for breach of contract (the city’s failure to pay monies owed Cobra), and civil rights due process violations in connection with the city’s apparent conspiracy to bar Cobra from doing further business with the city. A business valuation expert testified Cobra Solutions was valued between $5.2 million and $8.8 million based on future lost profits from the city’s debarment. With attorney fees and court costs, the city could be on the hook for as much as $10 million. The city has subsequently established more stringent controls as it relates to the authorization of work assigned to master contractors and sub-contractors. The jury was expected to resume deliberations on Feb. 14 and deliver its verdict by week’s end. Check the SFBG.com Politics blog for the latest. 2

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$JUZ QPMJDJFT BSF FODPVSBHJOH B OFX UFDI CPPN ¹ CVU IBWF XF MFBSOFE BOZ MFTTPOT GSPN UIF MBTU POF By Steven t. JoneS steve@sfbg.com San Francisco’s future is in the process of being written, once again using lines of computer code and blips on the screens of electronic gadgets, the same as during the last dot-com boom. Its proponents insist it will be different this time — that Boom 2.0 won’t displace the working class, that the bubble won’t burst — but critics have their doubts. After all, the city completely screwed up the last boom by favoring flashy tech development and growth over the needs of existing, often vulnerable residents. There are already signs that displacement is creeping back, rents are soaring housing prices are driving people out of town — and even the city’s own economist admits that nobody knows whether the tax-cut driven development will pay for itself. In many ways, Zendesk, which recently moved to the area, is a poster child for the main obsession of Mayor Ed Lee and other city leaders, who are pushing policies that will make San Francisco the center of a new high-tech expansion. They hope to use that economic growth to create good jobs and address challenges such as revitalizing the midMarket area.

10 SAN FRANCISCO BAY GUARDIAN

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Lee and Sups. David Chiu and Jane Kim a year ago led the creation of a business-tax exclusion zone intended to keep Twitter from leaving town. The company’s planned growth and relocation to mid-Market, they argued, would be a magnet for more tech companies. The city would give up payroll taxes on the new jobs and provide other taxpayer-financed incentives — but big companies in the zone would be required to enter into community benefits agreements that would help low-income residents and small businesses benefit from the influx of well-paid tech workers. In fact, a Guardian review of documents (“Behind the tweets,� 3/15/11) found that Twitter resisted the city’s efforts to get a substantial community benefits package, and that deal was pushed back to a later time. The agreement isn’t actually due until the company occupies the new site, and Twitter officials are upbeat about their interactions. Twitter spokesperson Robert Weeks told us by email that the company is working with others to improve mid-Market: “Based on early meetings we’re having with various entities, it’s clear there’s great collective energy that can bring positive change to the neighborhood.� But Zendesk — a Danish commusic listings

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pany that makes help-desk support software from an airy third floor office near Market and Sixth streets — seems to be offering a lot to the gritty neighborhood where it opened up shop last year. In January, Zendesk became the first company to take advantage of the tax break and sign a community benefits agreement with the city. “This is about forming a longstanding relationship with the neighborhood,� said Tiffany Maleshefski, the company’s community benefits manager who negotiated with the city. The agreement has both general goals and a number of specific requirements. The company will contribute $5,000 to mid-Market community gardens, use local businesses for at least 40 percent of its events, hire two paid interns from the neighborhood, donate equipment to local groups, coordinate several specific outreach events a year, help staff the Tenderloin Tech Lab, and participate in local nonprofit organizations and ventures. Avoiding payroll taxes on the 66 new employees it’s hired will save the company about $30,000 in its first year, Maleshefski said, and the company plans to grow from about 110 employees in San Francisco now up to about 200 employees by the end of the year. But CEO Mikkel Svane told us the tax break wasn’t a big factor in choosing this location. He knew they wanted to be in San Francisco and he just liked the space. “The people here want to be a part of a dynamic culture and not on a big campus in Silicon Valley,� he said. “For a technology company, being here where everything is happening is important.� And even though the new bubble has yet to reach its full proportions, small businesses and nonprofits in the area are already finding landlords jacking up rents in anticipation of the well-heeled new arrivals. As with the last dot-com boom, some people are going to make a lot of money and spend it around town, and some of it will probably trickle down to the rest of us. But what price will the city and its residents pay for that bump, and what kind of city will this become? Have we really learned anything from the disaster of the first tech boom?

Dueling economiStS The question of whether this tech bubble — and Mayor Lee’s focus on jobs — is good for San Francisco involves many realms, but at its center is a question of economics. Does

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Even with a 70 percent tax rates, these folks would still be filthy, stinking rich.

it make economic sense to offer public subsidies and other incentives to boost the tech sector? We consulted three San Francisco economists with expertise on the situation and a range of perspectives: Tapan Munroe, a business-oriented economist and the author of DotCom to Dot-Bomb: Understanding the Dot-Com Boom, Bust, and Resurgence; Peter Donohue, a longtime consultant to cities and unions and principal of PBI Associates; and Ted Egan, the city’s economist. “I think San Francisco is sitting pretty right now,” Munroe said, noting that tech companies and employees are naturally drawn to this vibrant, culturally rich city. “Young people like to be in San Francisco more than the Silicon Valley...It’s such a unique place, we are so fortunate to live here.” Monroe said San Francisco is in a league of its own and it doesn’t really have any direct competitors in the region, so tax breaks and other incentives to lure businesses here don’t make much of a difference. High rents and living costs are a factor, he said, but “the main thing the city can provide is quality of life.” He also doesn’t believe this current tech bubble is going to burst like last time, when the Internet was still new and venture capitalists were throwing money at every kid with a good idea or cool URL. “We’re not seeing anything like that this time,” he said. “Last time, people went crazy.” This time around, the seemingly crazy stock valuations on tech companies might make more sense: “The global economy is very much being guided by mobile technology. The world is moving to mobility so the valuations have some justification,” he said. But he added: “The market will speak. If they can’t make money in the next five years, they’ll be gone.” That’s precisely the concern that many people have voiced, that Twitter will avoid paying taxes to the city as it beefs up and goes public — creating another litter of young millionaires in the process — and that it may fold before its six-year tax holiday ends, leaving little in city coffers. And along the way, the bubble will raise rents and displace the working class. “Rising prices displace people, that’s just a fact of life,” Monroe said. “That’s the way the market works, but it has social impacts.” More progressive thinkers dispute that kind of fatalism, saying it isn’t some all-powerful “market forces” that are threatening to remake CONTINUES ON PAGE 12 >>

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The Facebook Eight

San Francisco’s new gazillionaires will keep most of their wealth while the public sector shrinks By Tim Redmond tredmond@sfbg.com Eight of the people who are projected to attain great wealth from Facebook’s initial public stock offering live in San Francisco, and — based on their stock ownership and the projected market capitalization — three are expected to become billionaires. That would bring the total number of billionaires to 19 in a city that can’t house its homeless and can’t adequately fund its schools and has to rent out the parks to raise cash. The tax law for stock compensation, stock options, and vested stock options is immensely complicated. In general, Leo Martinez, a tax-law professor at Hastings Law School, told me that if a company pays its employees in stock, they have to pay income tax — the same as if the stock were cash — on the value of the stock at the time. If the stock options don’t actually become the property of the employee until after, say, an IPO, then they aren’t taxable until then. But often, stock options aren’t taxable at all until they’re exercised. Tax lawyer David S. Miller noted in a Feb. 7 New York Times story that Facebook founder Mark Zuckerberg plans to exercise $5 billion in options, meaning he might have a tax bill of roughly $2 billion. That sounds like a lot, except that the total worth of his stock will be close to $28 billion — and he may not have to pay any taxes at all on that at all until he sells it — if he ever does. So much of his wealth will be income-tax free, and his effective tax rate will be about 7 percent

— far lower than most workingclass Americans pay. And if Zuckerberg or his heirs sell some of that stock later, the profit will be taxed as a capital gain — at a much lower tax rate. For much of the 20th Century, high incomes were taxed at relatively high rates. In the World War II era and the post-war years, marginal tax rates on the richest people reached as high as 91 percent, but they were typically in the 70 percent range. Capital gains taxes — on money earned not through labor but by selling off investments at a profit — were as high as 39.5 percent. But now the highest federal income tax rate is 35 percent. The highest earners in California pay about 10 percent in combined state and local taxes. And the highest combined state and federal capital gains tax is about 25 percent. Of course, the very rich always manage to park their money in tax shelters and find ways not to pay even the relatively modest taxes that they owe. Some of the Facebook stock will be given to foundations or put in trusts that will protect it from most tax liability. So at maximum, these new 1 percenters will by paying about 45 percent on their money, and most will pay a lot less. On average, it would be shocking if many of them paid more than the 25 percent capital gains tab on their total wealth; some will pay far less than that.

If the very rich were taxed at a fair rate — say, income of more than $20 million (including capital gains) was taxed at 70 percent — the public would see a huge revenue boom at the state and federal level. And the rich people would still be very, very rich. We’ve done a chart of who San Francisco’s new members of the 1 percent are and how much they are (or aren’t) paying in taxes at a time of huge federal deficits and desperate money shortages in state and local government. We’ve assumed that every one of these people will ultimately pay 25 percent in state and federal income taxes — which, given the Zuckerberg example, is highly unlikely. So our figures on what the public is losing are very conservative. Then we looked at what they would pay if stock grants and capital gains of more than $20 million were taxed at 70 percent. Guess what? Even with a 70 percent tax rate, even if the IPO winners were taxed the day the stock went public, every one of the Facebook peter thiel Eight would be $2.55 billion filthy, stinking rich, with more money than they could ever spend in a lifetime, more than their kids could spend. Their grandkids would never have to work. These $1.785 billion are huge fortunes, and after reasonwhat he’ll keep: able taxes, they’d $765 million still be huge fortunes. 2

key facebook money dustin moskovitz

taxes they should pay

$5.1 billion

taxes they may end up paying

sean parker

$3.4 billion

$3.570 billion what he’ll keep: $1.53 billion

$2.38 billion what he’ll keep: $1.02 billion

$1.275 billion what he’ll keep: $1.275 billion

mark pincus

reid hoffman

$425 million

$425 million

$297.5 million

$297.5 million

$106 million

$106 million

what he’ll keep: $127.5 million what he’ll keep: $318 million

what he’ll keep: $127.5 million what he’ll keep: $318 million

owen van natta

jeff rothschild

matt cohler

$680 million

$680 million

$680 million

$637.5 million

$476 million

$476 million

$476 million

what he’ll keep: $204 million

what he’ll keep: $204 million

what he’ll keep: $204 million

what he’ll keep: $1.912 billion

$170 million

$170 million

$170 million

what he’ll keep: $510 million

what he’ll keep: $510 million

$850 million what he’ll keep: $2.55 billion

what he’ll keep: $510 million

Minimum amount the taxpaying public is losing (if every one of these eight actually paid capital gains tax on all of their stock): $6.063 billion (enough to pay 80,000 teachers). And that’s for just eight people. Source: Facebook SEC filing, Whoownsfacebook.com; sean parker photo by andrew mager; matt cohler photo by Eirik Solheim; Reid Hoffman photo by Robert Scoble

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11

news the bubble is back CONT>>

San Francisco but a certain brand speculative, monopolistic capitalism that is being aggressively pushed by a handful of wealthy investors and their political partners. In the latest Harper’s Magazine cover story, “Killing the Competition: How the new monopolies are destroying open markets,” writer Barry Lynn argues that the consolidation of wealth and dismantling of fair trade and pro-labor laws has allowed the Bay Area tech industry to unfairly dominate small competitors and control the labor market. That trend has been masked by political euphemisms that fool the public. “Corporate monopoly? Let’s just call that the ‘free market.’ The political ravages of corporate power? Those could be recast as the essentially benign workings of ‘market forces,’” Lynn wrote. Donohue has been calling out such rhetoric for decades. He told us the city’s economic development policies are mostly a boon to politically connected landlords and investors, and there’s been remarkably little discussion at City Hall about gentrification, increased demand for

12 SAN FRANCISCO BAY GUARDIAN

city services, or other problems created by economic bubbles. “People say it’s different this time, but they say that every time. It’s not different,” Donohue told us. He said economic bubbles usually hurt the poor and working class by driving up the cost of living. And he also said, “Even the most conservative economists don’t like the idea of subsidizing businesses because they think it’s a distortion of the market.” Yet the “jobs” rhetoric and assumption that government should actively promote and subsidize the private sector has broad support in City Hall these days, even though Donohue said few people are stopping to ask whether a new tech bubble is actually good for the city. “When you bring a lot of people into an area, you’re going to create a demand for public services,” Donohue said. “I don’t think anyone has done a very good assessment of what this will cost the city.” Donohue worked on a political campaign in the mid-’80s to require a study of the costs to the city of serving commercial growth that was occurring in the Financial District at the time, but he said it was bitterly opposed by then-Mayor Dianne Feinstein and her downtown allies.

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“Nobody seems to want to know what that figure is,” Donohue said. “Nobody at City Hall is even asking the question.” City Economist Ted Egan confirmed that his analysis of the mid-Market tax break and other economic development schemes don’t include the cost of increased demands on city services. “I’ve never dealt directly with that argument,” Egan told us. Based on his assumption that Twitter’s move to the SF Mart building (owned by the politically connected Shorenstein family) on Market between Ninth and 10th Streets will fill up commercial vacancies throughout the area and generate increased sales, property, and payroll taxes, Egan concluded the city will more than make up for the lost business tax revenue over the long run. He minimized the importance of costs to the city, such as increased police or sanitation services, and impacts to city infrastructure from water and sewer to roads and public transit. “It can’t be that running more transit is bad in a transit-first city,” Egan said, noting the relatively fixed cost of operating a Muni station. Yet Donohue and others say the

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fact that the city and San Francisco Municipal Transportation Agency have huge budget deficits to close every year, even after years of cutting services and raising fees, indicates the city has a structural budget deficit that will only get worse as growth places more demands on government. “I don’t think these things are well-thought-through, ever,” Donohue said. Lee, Kim, and representatives from the Mayor’s Office of Economic and Workforce Development didn’t return our calls, but Chiu did and he said he believes in actively courting the tech industry with public incentives: “My support for these policies is a belief that it will broadly benefit San Franciscans.” Yet when asked why the city doesn’t consider its costs or the impacts of rising rents and living costs, Chiu spoke only in generalities, saying that he’s been engaged in many recent meetings “to make sure we do heed the lessons of the last tech boom and make sure a rising tide lifts all boats.”

Rising tide One of the most obvious negative impacts of the last tech boom was

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residents, nonprofits, and small businesses being hurt by rising rents and other costs, and there are some indications that’s already happening again. The director of a venerable local nonprofit in the mid-Market area that is in the process of renewing its office lease told us their landlord is trying to nearly double the rent of $18 a square foot. “There’s all this venture capital now and people are willing to pay $33 per square foot, so landlords are just seeing green,” said the director, who asked not to be identified because negotiations are ongoing. “The speculation is hitting us big time. The neighborhood is all aTwitter, and they’re treating us like junk mail.” Egan said he predicted those rising rents, but he didn’t think they would happen so quickly. “In principal, it doesn’t surprise me, but it does surprise me that it’s happened that far and that fast,” Egan said. “The idea was to create employment, rather than rising rents.” Chiu said he was also surprised. “Jane Kim and I very much want to monitor the situation. We will look into city policies that will mitigate this trend,” he said. When asked what the city can do, he made

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The Army advertises on Facebook. I don’t see those ads, but who does?

several vague statements before saying, “If we’re serious about diversity, we may want to talk about rent subsidies at some point.” That would be one more cost to the city, adding to a toll that Donohue and others say is being ignored. Chiu, Egan, and other city officials seem to think growth is the only way forward. As Egan said, “If we don’t do development in a city like San Francisco, what happens?” But others say San Francisco should take care of its own first to maintain the city’s diversity. Asked what the city’s approach to economic development should be, Donohue said, “I’d presume you want to serve the people who live here already.” It was an idea echoed by Chris Daly, who was a housing activist during the last dot-com bubble before being part of wave of progressive politicians its backlash propelled onto the Board of Supervisors. He is now political director for SEIU Local 1021, which represents city workers. “If your priority is to care for the fabric of the city as it’s been built, you invest in what’s here now,” Daly told us. “My view is when the city courts the high-tech industry to try to jumpstart the city’s economy, there are significant ramifications to what kind of city you’re building.” Local progressive activists, people who often work to counter the impacts of those who see San Francisco as simply a place to make money, agree that there is a perverse logic at play these days. “We already have more jobs than people,” said Marc Salomon, a computer programmer and longtime community activist, noting that the city has about 800,000 residents and about 1.3 million people who work here. “And we have lots of unemployed San Franciscans, and we have a budget deficit.” Tom Radulovich, executive director of Livable City, said the simplistic rhetoric coming out of City Hall masks the more complex realities that the city faces. “When they say ‘jobs,’ everyone’s critical thinking sensibilities are supposed to shut off,” Radulovich said Rather than focusing solely on whether a proposal creates private sector jobs, he said that a more complete analysis involves what he calls the “three Es: equity, environment, and economy.” In other words, does the proposal have broad, leveling benefits (equity), what are its impacts to the natural and built worlds (environment), and what are its fiscal implications (economy). “But,” he said, “we’ve been privileging that third ‘e’.” 2 editorials

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Weblining

From armed forces recruitment, educational opportunities — your Internet is profiling you By Caitlin Donohue caitlin@sfbg.com Something to make you feel better about all your compulsive newsfeed scanning: Facebook is watching you, too. And just like you as you click through so-and-so’s party photos from last weekend, it’s getting judge-y. “One of the things we’re concerned about, as we have an increasingly tailored Internet experience, is whether people with certain backgrounds experience a different Internet than other folks,” says Rainey Reitman, activism director at the Electronic Frontier Foundation in a phone interview with the Guardian. Her organization is a Bay Area-based Internet rights group that defends online privacy, free speech, and consumer rights through law, activism, and policy work. “Online marketers use invisible tracking mechanisms to create a virtual portrait of someone and show them advertisements based on that,” Reitman says. Social networking sites and search engines like Google have in their electronic possession inordinate amounts of our personal information, obviously. The location of our IP addresses, our educational backgrounds, the most intimate details of what TV shows we enjoy, how often we contact our family — the list goes on. And many sites use that data to sell you things. But it’s not just consumer issues. Health insurance companies can obtain access to the records on some sites — a Feb. 4 New York Times op-ed by law professor Lori Andrews suggested that searches we conduct on medical conditions can lead to raised premiums. Our credit limits can be affected by spending patterns tracked by websites, and there’s the well-known employer practice of performing web searches to screen job applicants. As we add to our online identities, we become the

subject of what is known as “weblining” — specific targeting based on our patterns of Internet usage. Over the past week, I tracked the ads that Facebook fed me. Many were site-specific — San Francisco arts and culture listings (a good bet for advertisers, given the amount of events I view on a daily basis). There was a wine delivery service, an invitation to a 1920s-style speakeasy, announcements of free gym memberships, my collegiate alma mater’s ceaseless plugs for cash, and the tantalizing whiffs of various graduate school programs. This last category is a part of what should give us pause about the intense specialization of our Internet experience. The average American, according to a December 2011 survey by Forrester

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Research, spends 13 hours a week on the Internet — roughly the same amount we spend watching TV. And even if you don’t think that the ads that lurk on the edges of our vision for 13 hours a week will affect our behavior, there are other ways our Internet morphs to fit companies’ expectations of us. Search results, for example, vary between web surfers — Google’s been tailoring them since 2009. A college graduate with a professional job in a creative field, I am being fed graduate school ads by my social network of choice. But not everyone’s seeing their opportunities for an advanced degree in sustainability. The Army advertises on Facebook. I don’t see those ads, but who does? Who gets the farmer’s market directory ads and who sees McDonald’s latest deal? You can see where I’m going with this. In the 2011 book The Filter Bubble (Penguin Books, 294 pp, )author Eli Pariser talks about how weblining can lead to a more isolating Internet that doesn’t live up to its promise as a place where we can go to learn about anything. But, says Reitman, there are ways to fight the system. By supporting her organization, for one: EFF pushes websites from Facebook to Google to OkCupid to clarify who gets to see your data, tighten up chinks in your privacy armor, and delete people’s information promptly when it all gets to be too much and they opt out of a network entirely. Currently, the group is working on a campaign to encourage the government to update the Electronic Communications Privacy Act, a dinosaur piece of legislation that was created in 1986 — a time when we hardly could have imagined the multifarious ways we live online today. You can also opt out of certain attempts to track you easily by going to the Do Not Track site (donottrack.us), an online relative of the Do Not Call directory. My Google Chrome doesn’t support the service — but that didn’t come as any surprise. Firefox, Internet Explorer, and Safari do, however. And for a more free and open search function, check out DuckDuckGo (www.duckduckgo.com), a search engine that eschews cookies and does not save your search history or personal information. 2

We’re trying to buy a condo in SF. LOL. By Marke B

Marke@sfbg.com

Somehow, we thought we’d timed it perfectly. We’d saved up for decades (or at least my husband had — I’m a writer). We’ve lived in San Francisco for close to 20 years, sometimes holding down three jobs at a time and spending every available hour enmeshing ourselves in the cultural fabric of the city. Mortgage rates are insanely low; credit is loosening up again. We’re not looking for anything extra-fancy, just somewhere with a little charm to finally set down financial roots and maybe even have enough room to start a family. So boring! And yet, in the era of Zynga and Facebook ... so seemingly impossible. Hunky Beau and I have spent the last year looking for a two-bedroom condo, and it has been hilarious. Sometimes Three Stooges hilarious, like when open houses are so mobbed you almost catch picks

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a flying checkbook in the eye. Sometimes Saturday Night Live hilarious, like the broker who introduced himself with, “If you know what gentrification means, then you’ll know the rapidly gentrifying Bayview neighborhood might be for you!” But mostly The Office hilarious, like the time we excitedly put in a bid on a place right after the open house, only to be told there were seven bids already in, three of them $50,000-plus above asking, two all cash. Sad honk. Of course, we’re being a little fussy. If my husband and I are going to spend more than half a million for somewhere to live in San Francisco — and $500K is pretty much the base price here for a non-studio condo — then we want it to be situated somewhere we can bike to work in less than 30 minutes, easily accessible by Muni or within stumbling distance of the clubs, and built before 1940 with some charm intact. We may not be rich but,

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dammit, we’re still gay. (Dear quickie-flip contractors: whoever told you all to slap horrid sandstone travertine tile into every bathroom and kitchen was wrong in the 1990s, and still is.) And yes, we’re small potatoes, too, and definitely more fortunate than most: I moved here when a tragic confluence of AIDS, earthquake, recession, and urban population incarceration made San Francisco real estate cheap, and it’s only by virtue of a rent controlled apartment, one I’ve been basically trapped in since the first Internet Boom raised rents skyhigh, that I’ve been able to stay in the city I love. Yet it’s become especially obvious in the past three or four months — since Zynga went public in fact, and Facebook announced its IPO — that the market has become almost absurdly competitive. Paula Gold-Nocella, managing broker at Vanguard Properties, confirmed my observations. “On top of the

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notoriously low inventory that’s part of the winter season here, we’re seeing an incredible interest due to recent technology developments,” she said in a phone interview. “With Twitter moving in downtown, Saleforce, the Facebook IPO announcement ... the seller’s market is especially hot right now. I have a broker down the Peninsula who’s fielding offers where they’re waiving the inspection contingency. And some sellers are most likely waiting to see what happens with Facebook. It’s kind of a perfect storm that’s brewing.” I don’t think we’ve missed the buyers boat just yet — and for my friends who are renters I know the situation is getting far worse. But Oakland and the Outer Avenues are looking more and more attractive, even if that means remaking our lives from scratch to buy into the current economy. At least we may meet other artsy types there. (Marke B.) 2 february 15 - 21, 2012 / SFBG.com 13

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a taxinG Situation By Caitlin Donohue caitlin@sfbg.com

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heRBWiSe It’s happening again. Last autumn when your favorite dispensary got shut down in the wake of receiving a threatening cease-anddesist letter from the Department of Justice — well there’s warning signs that the remaining 21 cannabis collectives in San Francisco won’t be 21 for much longer. The DOJ requested the Department of Public Health records for 12 dispensaries in January, the same move that preceded its last round of forced dispensary shutdowns. It’s a time of a lot of uncertainty for the medical marijuana (although you could make a compelling argument that it’s never been on completely solid footing). Various tactics are being taken to shore up its legality, including a passel of proposed ballot initiatives that have varying chances of presenting themselves to California voters in November, from bids to legalize weed entirely to proposals for a statewide regulatory body for the existing medical system. Hey, there’s even reality TV shows (the Discovery Channel’s Weed Wars, which focused on Oakland’s Harborside Health Center) out there on which earnest dispensary staffers let the United States public in on just how above-board working in a cannabis center can be. Henry Wykowski is not a signature collector. Nor is he a television producer. Wykowski is actually a San Francisco-based trial attorney, one that specializes in the field of cannabis tax law. This fact makes him the perfect candidate for the endeavor he is currently embarking on: to kickstart a nationwide campaign to convince the federal government to change a part of the national tax code that disallows cannabis dispensaries from deducting business expenses on their taxes. The offending tax code Section 280E was recently harnessed by the IRS to demand $2.4 million from Harborside in “owed� taxes (Wykowski represented Californians Helping to Alleviate Medical

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Problems in a similar case in 2007, in which a court decided that business expenses were deductible for cannabis dispensaries except where they pertained to the actual dispensing of marijuana). How does Wykowski hope to enthuse a nation over tax code quibbles? The Guardian contacted him via email to find out. His answers were somewhat tax lawyerly — which definitely doesn’t mean we don’t applaud his efforts. San Francisco Bay Guardian: What’s the goal of the 280E reform campaign? henry Wykowski: To have IRS Section 280E modified to exclude state authorized medical cannabis dispensaries. 280E was instituted to deprive drug dealers from being able to deduct their business expenses before any states passed laws authorizing the sale of medical marijuana. There are now 16 states and the District of Columbia that have authorized the use of medical marijuana. It was not intended to deprive dispensaries of the right to deduct ordinary and necessary expenses and should not be used to do so. SFBG: How do you plan to make this campaign go forward? hW: By letting people know that there is an organized effort to change this punitive provision and enlisting their support in doing so. SFBG: Do you imagine it’ll be difficult to get people behind an imitative to change the tax code? hW: No. The majority of people support the legalization of medical cannabis. Once the patients and other supporters learn that the unfair application of 280E could tax dispensaries out of business, the support will come. Right now most people aren’t aware of Section 280E or its potential consequences. SFBG: How will you activate people that aren’t cannabis’ traditional base? Will you need to? hW: By getting the message out. We welcome everyone’s support. 2 Find out more about Wykowski’s campaign at www.280ereform.org

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Jazzy flighTs Of fancy aT sTaTe Bird: cuMin-crusTed quail, caViar chiPs, and BeeTs in hOrseradish-ale creaM | guardian photos by Virginia Miller

3ERVING THE #ASTRO SINCE

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By Virginia Miller virginia@sfbg.com

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aPPeTiTe I would venture to say Fillmore newcomer State Bird Provisions is the ideal companion to that district’s storied jazz tradition, even though there’s no direct musical connection. The spirit of jazz is present in playful, dim sum-style presentation — and in the improvisatory way that near-legendary husband-wife chef duo Stuart Brioza and Nicole Krasinski (formerly of Rubicon) change the menu almost daily. They adhere to the now-typical seasonal approach, yet are guided by a stronger creative prerogative than most. What sounds good? Where else could a dish be taken? What ingredients are new? Plates materialize on carts or trays like flashing jazz riffs, of the moment but never rootless. The actual soundtrack is more Johnny Cash than John Coltrane: this fits the casual, toned-down setting, with pegboard walls and a front kitchen where cooks greet your arrival. After multiple visits since the restaurant opened two months ago, the staff remembers me, and Brioza is up front with a warm welcome. A short, thoughtful selection of bottled beers, teas, wines by the glass, and rotating house lassis (fennel salted yogurt, coconut milk persimmon) helps orient visitors. And for those who fear the unknown, the menu lists a handful of “main� dishes. I’d recommend you go elsewhere if you want predictability. God knows there’s more than enough comfort food and traditional menus out there. The joy of State Bird is that it’s unlike anywhere else. I find larger plates satisfying, even habit-forming, particularly the must-order CA State Bird (a quail, in case you were wondering). This is the one carryover from Brioza’s Rubicon days, the bird crusted in pumpkin seeds and cumin. But small plates offer the wider range of thrills. I am reluctant to even use the played-out term “small plates,� so keep that free-flowing, dim sum spirit in mind. Most dishes fall within the $5–$9 range, and everything on the menu is roughly $2–$18. When one adds up the final check, the variety is amazing given the per person price (on my visits, $30–$40 without drink). In any case, a full printed list wouldn’t do the dishes justice. Take, for example, the basic-sounding seven pepper flatbread with oxtail (peppers used include long pepper and madras). I’ve seen a lot of oxtail and even more flatbread. This one is different. Upon first visit, the flaky, twisted bread, which forms a bit of bowl in which to pour braised, tender oxtail, transported me to Eastern Europe. It recalled crispy, fried langos bread from my travels in Hungary. (Chef Nick Balla at Bar Tartine does a top notch langos, by the way.). It speaks to the depth of Brioza’s influences and talent that a dish could evoke tradition while being one-of-a-kind. By my next visit, the dish shifted in shape, now topped with lentils and cream. This time its spice profile conjured Morocco and Spain, another time India. Whatever the incarnation, this may be my favorite. There are countless delights: spanking fresh raw tuna is dashi-poached, coated in toasted quinoa with smoky bonito rosemary aioli, tossed with chrysanthemum leaves. Duck liver mousse is silky and ridiculously good (almost dessert-like) with almond

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happy hour 4-7 daily financier cakes. Beef is served in three cuts — brisket, short ribs, chuck — on a bed of fried nettles with pomegranate. Vegetarian dishes are just as captivating. Mushrooms arrive coated in hazelnut streusel with vanilla cream. Beets are crusted in rye grain, perked up with horseradish-ale cream. Char-grilled chicories are tossed with lemon, olive oil, dates, and almonds over spicy yogurt. Bites (less than $6) are equally interesting. Celery root curd shows up in different ways: in a raw chicken ‘salad,’ bright with Buddha’s hand citrus, or in a jar of creamy smoked sturgeon and sea urchin. Krasinski extends the inspiration to unusual desserts, sometimes with welcome savory notes. Twodollar shots of peanut milk gently sweetened with muscovado (an unrefined brown sugar) are imperative. They call it “world peace� peanut milk because of the happy feelings it invokes. Milk chocolate and sesame mix with candied clementines and cocoa jam, the clincher being a crispy little wafer of chocolate, sesame, and tahini. Pear brandy and long pepper make winning companions in sabayon form -- a finish on a high note. 2 STATE Bird ProViSionS 1529 Fillmore, SF. www.statebirdsf.com

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food + drink: cheaP eats

Junk BondS By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS Yeah, ever since they shot Prop 8 tentatively down, I have had to hire grad students and interns to sift through all the marriage proposals. Their job is to weed out the ones with typos in them, suspected vegetarians, those that contain the words “growth� or “cicadas,� and most importantly any that aren’t from Hedgehog, the dyke of my dreams. As you might imagine, it’s grueling work. And since Hedgehog is not one to repeat herself, the “slush pile� is rapidly taking over our apartment. Recycling comes on Friday. Meanwhile, I think I understand now why the queers I play flag football with in San Francisco hate the idea of ever playing co-ed. I’m always saying, at our under-if-at-all-attended practices out at Big Rec, “There’s some boys over there with a football. Let’s play them.� And my teamies look at me like I just suggested charades, or voting Republican. Well, my New Orleans flag football team is co-ed. And very straight, at that. Although our team color is pink, and our name is Piggy and the Conch Shells, and we lost our first game 63-6. (I could go on and on: I play for us, blazzy blazzy blah.) Anyway, so, last night, en route to winning our second straight game, I found out why no one I know votes Republican. I was rushing the quarterback, see, and I was getting to him. If it was football football, I would have wrapped him up around the legs or waist, toppled him or driven him to the turf, and then done a funky fuck-you-I-kicked-your-ass dance. But no. It’s flag football. So you have to reach for and pull off one of three flags we all wear on a belt around our waist: there’s one on each hip, and one on the butt. So I’m reaching for his left hip, and, understand, please: there are alleged blockers trying to be in my way, one of my blitzing teammates reaching for the right hip, and (does anyone see where this is going?) as soon as I make my grab, the quarterback twists away from the other rusher, leaving me with a handful not of flag, but of man-junk. Yes, I missed the sack, but did yank me some penis. music listings

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Note: accidentally. And shortsenshrouded. Nevertheless, he threw an interception. Which is of course an even better result than a sack. But I couldn’t find it in me to do a dance, or celebrate, or even smile. I just stood there and felt squirgly. And hoped he wouldn’t get his way with the ref, at whom he was screaming. In vain, thank God. What would the penalty have been? ... Holding? Illegal use of hands? Ruffling the quarterback? Later in the game, I did get called for roughing the quarterback when I popped him in the face, trying to block his pass. That time (wisely) he didn’t let go of the ball, and I pulled his flag. And the ref threw his. Still, the dude was so mad he kicked the ball into the stands — at which my 15-yard penalty became offset by his, ha ha. In summary: I now know first-hand (ha ha again) why my queers back home no like play football with the boys. It was a disturbing moment for me, and I’m theoretically bisexual! I’ve held that shit before — albeit not on a football field. Not to mention he was a complete stranger. I mean: eww. I did apologize to him after the game, and hinted that if he didn’t like to play rough, he might consider a boys-only league. Sike. I just said I was sorry I hit him in the face, I was trying to block the pass. “I know. That’s ok,� he said. “I was mad at the ref, not you.� And he asked me out. (So I guess it was better for him than me.) “No, thanks. Prop 8 went down,� I explained. “I’m a betrothalled woman.� In all possible seriousness, though, my new favorite restaurant for real (if not for long) is Pho 2000, in the ‘loin. They pile all the steak up together so it’s brightred raw when it comes to your table. You want it cooked, you have to push it into the broth. I’m telling you: Fuck Turtle Tower. 2 Pho 2000 Mon.-Sat. 8:30 a.m.-8:30 p.m.; Sun. 8:30 a.m.-7:30 p.m. 637 Larkin, SF. (415) 474-1188 Cash only No alcohol

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Put the libation in liberation.

for more visit sfbg.com

Friday 2/17 The FP Ever since Snake Plissken played a sadistic life or death version of HORSE in 1996’s Escape from L.A., one question above all has been on the mind of serious filmmakers: what formerly non-threatening competition will inevitably become a bloodsport in our twisted future dystopia? With their directorial debut , The FP, the Trost Brothers have perhaps answered the question once and for all: Dance Dance Revolution (or at least something very similar to avoid trademark violations.) Make sure to strap on your most hardcore head band for the SF IndieFest’s 21+ DDR afterparty at 518 Valencia, where you can scout recruits for your video gang. (Ryan Prendiville)

hold me closer, tiny dionysus see friday/17

7:15 p.m., $11 Roxie Theater free with $18 museum admission

3117 16th St., SF

(415) 771-1421

yet wildly ambitious theatrical production. (Robert Avila)

SF MOMA

(415) 863-1087

www.theindependentsf.com

Thurs/16-Sat/18, 8pm, $20–$25

151 Third St., SF

www.roxie.com

Yerba Buena Center for the Arts

(415) 357-4000

701 Mission, SF

www.sfmoma.org

Friday 2/17

www.ybca.org

Friday 2/17

Wednesday 2/15

Thursday 2/16

The Asteroids Galaxy Tour

BUMP Records on Mark Bradford

Hold Me Closer, Tiny Dionysus: A Greek Comedy Rock Epic

Tanya Bello and Alyce Finwall

628 Divisadero, SF

(415) 978-2787

Do Danish hipsters listen to American funk music? Apparently the Asteroids Galaxy Tour is keen to show its repertoire goes beyond the catchy pop you’ve likely heard on an Apple iPod ad (“Around the Bend”) or a Heineken commercial (“The Golden Age”). Asteroids, the brainchild of vocalist Mette Lindberg and producer Lars Iversen, gained popularity with their nostalgia-inducing sound on 2009 release Fruit (Small Giants). Lindberg and Iversen push that retro-funkiness even further in newest release Out of Frequency (B.A.R. Music), employing more horns and electronic organ sounds to add some oomph to Lindberg’s sweet tones. It’s as if technicolor was suddenly brought into this highdefinition world. (Kevin Lee) With Vacationer 8 p.m., $10–$15 Independent

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Thursday 2/16 El pasado es un animal grotesco Acclaimed Argentine director Mariano Pensotti found the roots of this play in a heap of random photographs salvaged from a defunct photo lab. The narrative impulse came from Balzac. The title he borrowed from an Of Montreal song. The result is an ingenious, giddy “mega fiction” that follows the tortuous careers of four 20somethings in Buenos Aires over a single decade, 1999 to 2009, with its intervening economic meltdown and a million other matters expected and unimagined — the detritus of an unwieldy but irresistible urge to meaning. Pensotti makes his San Francisco debut with this low-tech picks

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Jam the playlist on the website for the Bay Area Video Coalition’s BUMP Records youth-run label and you’ll get a sampling of catchy R&B and hip-hop songs, polished sound from young people who produce and perform their own work, learning about the importance of having a voice in society along the way. But they’re not just radio-ready, these kids. At this SF MOMA event of creative souls established and onthe-rise, BUMP artists will reinterpret hair stylist cum artist Mark Bradford’s character exploration of a Teddy Pendergrass-Pinnochio character, Pinnochio is on Fire. To warm up the crowd, artist Reneke Djikstra will talk about the spirit behind her luminous portrait work. (Caitlin Donohue) 6 p.m.-9:45 p.m.

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Fri/17-Sun/19, 8p.m., $20

If Tanya Bello and Alyce Finwall have anything in common besides their friendship and a performance history on the East Coast, it’s fierceness and a take-no-prisoners approach to dance. When the petite Bello’s is on stage, it’s difficult to watch anybody else. If she brings anything like that kind of intensity to her new “Sol y Sombra” for her not even twoyear-old Project B company, we should be in for a treat. In one of their early SF performances Finwall Dance Theater’s quartet of women in “Wide Time” just about bounced off the walls. Yet despite its wildness, the work also was tightly controlled. Turns out that Finwall has choreographed for over 10 years. In this program she will premiere the duet “Angel”. (Rita Felciano)

CounterPULSE

Fri/17-Sat/18, 8 p.m., $10–$20

1310 Mission, SF

The Garage

(800) 838-3006

975 Howard, SF

trixxie carr and Ben Randle put the libation in liberation with the return of their Great Recession–era musical about a lil grape-stained deity named Tiny Dionysus (carr) who, after getting booted off Mount Olympus, comes to San Francisco, where a group of unemployed artists call on him for help weathering the general storm. Randle directs playwright, faux queen, and chanteuse carr and a cast of five as classical Greek and classic rock converge, along with puppetry, drag, and original carr tunes, until no one is sure who is what is where is when — is why it’s so liberating. (Avila)

www.counterpulse.org

www.975howard.com CONTINUES ON PAGE 18 >>

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El pasado es un animal grotesco photo by Almudena Crespo; Trainwreck Riders photo by Beau Wiley; Tanya Bello-Project b photo by Michael Sugrue.

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CONT>>

Sunday 2/19

Doug Stanhope simply tells it like it is on a variety of cultural and societal subjects, all with hilarious results. Since he won the San Francisco International Comedy Competition in 1995, he has earned a well deserved, wild reputation for his routines and shows, captured most recently on his live DVD/CD Oslo: Burning The Bridge To Nowhere (Roadrunner 2011). Last September Stanhope performed in a maximum security prison in Iceland, telling fans that if they committed a heinous enough crime to be sent there, they could see him for free — thankfully you’ve got an easier option tonight. (Sean McCourt)

Girl Walk // All Day and Cheryl Dance Party

Friday 2/17 Trainwreck Riders Trainwreck Riders: a collision of country twang and good old rock’n’roll interspersed with hints of bluegrass and notes of garage punk. Their songs feel nostalgic, even upon first listen, and tend to focus on heartbreak. Yet they sing the blues in a way that makes you want to jam out instead of tear up. Yeah, these guys aren’t your run-of-the-mill indie act; but there is something quintessentially indie about them. Maybe it’s their preference for flannel. Or that Peter Frauenfelder’s voice bears a striking resemblance to Isaac Brock’s. Clearly, they’re from San Francisco. Ghost Yards, the band’s fourth full-length release, drops this spring. (Mia Sullivan) With the Blank Tapes, and the Human Condition 9 p.m., $14 Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

Saturday 2/18 Bonobo Bonobo, aka Britain’s Simon Green, has long reigned as one of the masters of the post-party, chillout tracks that deters drinking headaches in both lounge and living room. With his 2010 release Black Sands (Ninja Tune), Green opted for a more lush, jazzy, and spontaneous sound that edged slightly away from downtempo and toward the dancefloor. Ninja Tune has just released a remix CD of Black Sands that uses Green’s tracks and vocals from Andreya Triana as rich source material. Green could stick in a slow burning rework to begin the set, such as with Letherette’s sublime version of “All In Forms,” then turn up the energy a notch with a track like Machinedrum’s percussive-heavy production on “Eyesdown.” (Lee)

Partly a 71-minute long music video centered around Girl Talk’s latest mashup album All Day, Girl Walk // All Day is also an ecstatic musical feature following young one dancer as she bursts out of the confines of ballet class and dances her way across New York City. Financed through Kickstarter and filmed largely on the sly in public and not so public (Bloomingdales) spaces, GW//AD involves over 100 dancers, and takes a fanciful poke at the tendency of people to ignore the exceptional, even when it breaks, two steps, or tumbles into their daily life. This screening — followed by a set from CHERYL (NY) — will be suitably projected over the dance floor. (Prendiville)

with the network and resources to engage in collaborative creativity. The co-op’s mission is, simply, to cultivate a San Francisco film community equipped to make better films by connecting people who want to make films, and actually making them. (Genius?) Scary Cow has helped fund local films since 2007 and is celebrating its fifth anniversary with a screening of 13 shorts the co-op deems its “prime cuts.” Chosen shorts span the genres — from mockumentary to horror/comedy to sci-fi rock musical —and range from three to 24 minutes in length. (Sullivan) Castro Theater

Valdes has spent four decades wowing audiences as performer, composer, and arranger. A cofounder of the legendary Latin American jazz-rock band Irakere, Valdes has won four Grammy awards, including one for his most recent album, Chucho’s Steps (Four Quarters). In Steps, Valdes pays homage to several renowned musicians, including John Coltrane, Cole Porter, George Gershwin and Joe Zawinul. His current band references Art Blakey and the Jazz Messengers, which produced driving, bebop sounds and served as a platform for younger jazz musicians to showcase their skills. (Lee)

429 Castro, SF

7:30 p.m., $35–$75

(415) 621-6120

Herbst Theatre

www.scarycow.com

401 Van Ness, SF

4 p.m., $15–$40

8 p.m. $23.50 Cobb’s Comedy Club

(415) 621-6600

915 Columbus, SF

www.sfjazz.org

(415) 928-4320 www.cobbscomedyclub.com 2

7 p.m. $10 Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

Sunday 2/19

Monday 2/20

Prime Cuts Film Festival Extravaganza!

Chucho Valdes and the Tuesday 2/21 Afro-Cuban Messengers Doug Stanhope Perhaps the eminent Cuban pia-

The Scary Cow indie film co-op is one of those magical organizations that provide creative people

nist of his time, Jesus “Chucho”

While his style of comedy has been called abrasive and caustic,

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e‑mail (paste press release into e‑mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

tanya bello and alyce finwall see friday/17

9 p.m., $20–25 Mezzanine 444 Jessie (415) 625-8880 www.mezzaninesf.com

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arts + culture: noise pop

The crucial music fest this year features returning champs like Cursive (left) and newer artists such as Grimes.

Everlasting noise

It’s 20 years of Noise Pop; tender memories with Archers of Loaf, Cursive, Thao, and more By Emily Savage emilysavage@sfbg.com NOISE POP Thao recalls hosting impromptu beer trivia with Mirah during their joint show a few years back, a festive moment she says is telling of Noise Pop. Cursive vocalist Tim Kasher retained playing one of the “most hungover shows imaginable” many years ago at Bottom of the Hill and it still being one of his favorite shows. Archers of Loaf bassist Matt Gentling has a fuzzy memory of playing the fest in 1997 with Spoon and Knapsack. Roddy Bottum and Jone Stebbins of Imperial Teen once declared themselves “King and Queen of Noise Pop” due to a tireless week creeping nearly every show. Chances are, if you’ve been in a touring band at any point in the past two decades, or you’re a Bay Area music fan, you’ve got a Noise Pop memory or 20. My own? That incredible moment a couple years back when Yoko Ono and Sean Lennon were rejoined on the ornate Fox stage by Deerhoof, Petra Haden, Harper Simon, and a half dozen more for a stage-audience sing-along of “Give Peace a Chance.” Longtime Noise Pop co-producer Jordan Kurland clearly has endless stories from the fest. Sitting casually in the bright, spacious Mission office of his own Zeitgeist Artist Management, he smiles as he quietly recounts his life within Noise Pop; Guided By Voices at Bimbo’s in 2002 playing an encore of the first eight editorials

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songs off 1994’s Bee Thousand, taking duel legends Frank Black and John Doe out to breakfast the morning after their co-headlining show, watching Joanna Newsom — a soon to be star — play her third ever show opening for Cat Power. He then begins methodically ticking off great shows of NP past: Flaming Lips, Granddaddy, Creeper Lagoon, Death Cab, Rodriguez (M. Ward’s early act) at Great American Music Hall, Two Gallants, Superchunk at Bimbo’s, Wolf Mother at Bottom of the Hill — Lars Ulrich happened to be in the crowd for that one. “When you look back at some of the bills, it’s pretty amazing — and the fact that people still come and appreciate it, it’s gratifying,” he understates. Later he mentions, “we’ve had some misses over the years too, stuff that just doesn’t connect.” But he’s too polite to indulge those. The Noise Pop festival began in 1993, founded by Kevin Arnold who continues to this day, along with Kurland, to produce it. That first year, there were five bands playing one venue, one day. This year, there are 128 bands, playing 19 venues spread out over six days. Plus there’s the Noise Pop-Up pre-events, and the Thurs/16 pre-party with Class Actress, a Painted Palms DJ set, and Epicsauce DJs at the California Academy of Sciences. “It’s changed so much,” Kurland says. “When Kevin started [Noise Pop], it was about celebrating a picks

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scene that really wasn’t well recognized, and most of the bands were like Hüsker Dü or Replacements, you know, noisey pop.” Now, he says, “it’s really just about independentlyminded artists. It doesn’t mean that every band that plays the festival is on an independent label, it’s just a certain approach to the craft.” He adds that they’ve expanded over the years to include electronic music, dance music, and underground hip-hop. “I feel like we’re all getting older — I know, weird. But our staff is immersed in the culture of this so we have a good sense of what people are listening to — I mean, we’re not going to start booking yacht rock.” Kurland joined Arnold in 1998, the sixth year of Noise Pop. “At that point, Kevin had been saying for the past five years, ‘this is the last year,’ ‘this is the last Noise Pop, I can’t do it anymore.’ He had a day job in the technology industry, but I was working for another management company so it was easier to weave [booking bands] into the fabric of my day.” The year Kurland joined, the Flaming Lips did the momentous boombox experiment (pre-Zireka) at Bimbo’s, and Modest Mouse played its first show at Great American Music Hall. In the years that followed, the organizers introduced the Noise Pop Film Festival, which screens music-enwrapped flicks, and have toyed with different music education forums. There was once Noise

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Pop Night School, this year, there’s Culture Club at Public Works, where you can learn how to bounce with Big Freedia, or all about art, animation, and film with Aaron Rose and Syd Garon. The fest, which began a small indie music creature, is now a many-headed culture beast. This year is a significant year for Noise Pop, as Kurland is well aware. “You only get one 20th anniversary...so for this year it was a big effort to bring back bands that have played.” He and Arnold called up acts such as Flaming Lips, Archers of Loaf, Bob Mould, and Imperial Teen, all of which played early on. There’s also Thao and John Vanderslice, locals who have both separately played Noise Pops past in different incarnations, and who this year will co-headline Bottom of the Hill. At that show Thao will be testing out five to six new songs, and says “depending on the reaction, they may or may not go on the new album.” There is, however, one act that will be brand new to Noise Pop this year and yet, is still part of the tradition in a sense. Kurland has been trying to nab Built to Spill for the fest for the past 14 years, to no avail, though it did once play Treasure Island (also part of Noise Pop Industries). His annual reach-out for the act has become a tradition in its own right. “Every year it’s like a joke, I call them up, and it actually worked this year!” That Built to Spill show at the film listings

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Fillmore, however, is long sold out, as are many of the big names — Flaming Lips, Atlas Sound, Imperial Teen, even comparatively newer acts like Grimes. Though those who purchased badges will still have the opportunity to check them out, and there are dozens of other impressive lineups. “It’s definitely moving quicker this year,” Kurland says when the rate of sell-outs is pointed out. “I think there’s more attention on the festival.” “It seems obvious, but I feel every year we get a little more established,” he adds. “I feel like not that long ago people who should know what Noise Pop is, didn’t.” Noise Pop also inevitability brings a whole batch of artists wandering the city. Stebbins from Imperial Teen is hoping to catch Archers of Loaf at Great American Music Hall, Christie Front Drive at Cafe Du Nord, and Craig Finn at Bottom of the Hill, among other fellow artists. Interestingly, Kasher from Cursive also mentions those exact shows. Kurland, the eternal music fan, is also ready to haunt SF’s venues yet again. “I’m kind of stressed about some of the nights, I’m like, okay, Saturday night I’ve got Surfer Blood, but also Archers of Loaf...” Time again to start marking those schedules, fanatics. 2 Noise Pop Feb. 21-26 Various venues, SF 2012.noisepop.com

february 15 - 21, 2012 / SFBG.com

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arts + culture: noise pop

Abstract sound experiments take shape on Johnny Jewel’s latest.

More Noise Pop events to check out Snob Theater

Noise Pop isn’t all studied, somber plucking, ethereal soundscapes, or morose, twisting in the night song lyrics; there are solid yucks to be had. Kata Rokkar and Noise Pop are presenting another installment of Snob Theater at the Noise Pop-Up Shop pre-main events. Hosted by comedian-music blogger Shawn Robbins, it’s a mashup of indie rockers and indie comics, a real giggle fest for the musically-inclined. Brendon Walsh (Comedy Central, Jimmy Kimmel), Dave Thomason (SF Sketchfest), Janine Brito (Laughter Against The Machine), and Chris Thayer (Bridgetown Comedy Festival) bring the comedy, rockers the Ferocious Few and Bobby Ebola and the Children MacNuggits bring the raucous tunage. (Emily Savage) Feb. 17, 8 p.m., $10 Noise Pop-Up Shop 34 Page, SF 2012.noisepop.com

Die Antwoord

Symmetry

Is Glass Candy producer Johnny Jewel’s recent project his allegedly scrapped Drive score? By Michael Krimper arts@sfbg.com NOISE POP It’s been a few months since I’ve seen Nicolas Winding Refn’s Drive, and while many have dedicated countless hours selflessly contributing to the Ryan Gosling meme, which continues to grow and mutate like an uncontained bacterial infection, I’m still utterly and helplessly seduced by the score. Allow me to draw a rash conclusion in the limited space allotted: Few films have coalesced around a form of sound as succinctly as Drive. On the one hand, the melancholy synth-pop music magnetizes the sense of nostalgia that saturates the film in a mythically neon Los Angeles of the 1980s, or the sprawl imagined in ‘50s noir. On the other hand, the score motivates the emotional awakening of a lonely Gosling stricken by an unfolding love for his neighbor of angelic innocence. What emerges from this tension between loss and erotics parallels none other than Vangelis’ extraordinary dystopian soundtrack for Bladerunner (1982). Through some kind of alchemical dissimulation, currents of machine generated sonic particles make visceral a disturbance within the dream distributed by 20 SAN FRANCISCO BAY GUARDIAN

Hollywood — a disturbance that nevertheless satisfies waves of desire as much as it unsettles. Although Drive’s score owes much to Cliff Martinez’s stark drum programming and warm synthetic melodies, some of the most arresting moments are due to Desire’s “Under Your Spell” and The Chromatics’ “Tick of the Clock.” Both songs belong to the musical vision of Johnny Jewel, a tireless producer also behind the Portland group of night stalkers, Glass Candy, and in general, much of the output from the Euro disco revivalist imprint, Italians Do It Better. If you’re like me, and fiended for more Jewel after stumbling out of the theater under the spell, then you might have come across a few online interviews regarding his own mysteriously scrapped soundtrack for the film, encrypted with announcements for an unspecified future release date. Then, just at the end of last year, 37 songs comprising nearly two hours of cinematic music quietly appeared like a gift from the void, under the appropriately vague title Symmetry / Themes for an Imaginary Film. The official statement in the press blurb insists, however, that this is not the allegedly trashed Drive score. Instead, it consists of a series of editorials

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abstract experiments culled over the past three years from Jewel and partner Nat Walker on tone, mood, and structure, stripped of the lyrical motifs and pop formulas that tend to mark their signature work. I have to admit I’m not entirely convinced by this back-story, but for all listening purposes, it doesn’t much matter. Symmetry draws on the same affective narrative underpinning Drive: As soon as a sense of artificial enclosure reaches the limit of relentless claustrophobia, a rupture slowly deflates from within, without any grand arrival or explosion. And while we may feel the euphoria of its release, the anticipation of an event ever more devastating to come, still crawls wonderfully under our flesh. 2 Glass Candy, and the Chromatics With Soft Metals, Omar and BT Magnum (DJ) Feb. 28, 8 p.m., $19 Mezzanine 444 Jessie, SF mezzaninesf.com Noise Pop Culture Club Johnny Jewel on scoring, Glass Candy, and more Feb. 25, 11:30 a.m., $10 Public Works 161 Erie, SF 2012.noisepop.com

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The chances that this South African freak-hop duo will roll onstage with LED-tricked wheelchairs, wearing onesies that make flat-topped emcee Ninja and devil-pixie singer Yo-Landi Vi$$er look like plushies are not high — it already worked that look for the “Umshini Wam” video, accessorizing with a telescope-sized joint and firearms. No matter, this hot-ticket sell-out show will have a gonzo pack of hipsters twerking to the weird-ass lyrics like there’s no tomorrow. Die Antwoord, like most hip-hop these days, is plagued by questions of authenticity (it reps for South Africa’s working-class demographic that members may not actually hail from), but the performative aspect of its schtick makes it a cultural artifact regardless of where Ninja went to school. Hot tip for those that dig a long shot: keep one eye peeled for Celine Dion. Die Antwoord’s pegged her as their dream collaborator. Weirdos. (Caitlin Donohue) Feb. 22, 7 p.m., sold out. Regency Ballroom 1300 Van Ness, SF 2012.noisepop.com

Hit So Hard: The Life and NearDeath Story of Drummer Patty Schemel

Along with Last Days Here, currently screening as part of the San Francisco Independent Film Festival, Hit So Hard is one of the most inspiring rock docs in recent memory. Patty Schemel was the drummer for Hole circa Live Through This, coolly keeping the beat amid Courtney Love’s frequent Lollapalooza-stage meltdowns after Kurt Cobain’s 1994 death. Offstage, however, she was neck-deep in substance abuse, weathering several rounds of rehab even after the fatal overdose of Hole bandmate Kristen Pfaff just months after Cobain (who appears here in Schemel’s own remarkable home video footage). P. David Ebersole’s film gathers insight from many key figures in Schemel’s life — including her mother, who has the exact voice of George Costanza’s mother on Seinfeld, and a garishly made-up, straight-talking Love — but most importantly, from Schemel herself, who is open and funny even when talking about the perils of drug addiction, of the heartbreak of being a gay teen in a small town, and the ultimate triumph of being a rock ‘n’ roll survivor. If you miss Hit So Hard at Noise Pop, it’ll be back around for a San Francisco theatrical run starting April 27. (Cheryl Eddy) music listings

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Feb. 22, 9 p.m., $10 Artists’ Television Access 992 Valencia, SF 2012.noisepop.com/film

Grimes

After listening to Grimes on heavy rotation for the past couple years I still find myself mesmerized by Claire Boucher’s voice. It leaps and falls, circles words in repetitive motions, ciphering their sonic texture and tone into a perpetual undoing of sound. Grimes consistently induces this siren effect, inhabiting that mysteriously seductive threshold somewhere between waking life and dream world. Its third full-length, Visions (Arbutus/4AD), is no different. It continues to draw resources from spectral pop wherever it can, from the processed rhythms underpinning a constellation of electronic dance genres, to the gushing melodies of New Age cassette tapes and 1990s R&B, and even disparate psychedelic folk from across the globe. What holds Grimes’s aesthetic together though is, simply put, mood: whirling awfully close to planetary rapture. (Caitlin Donohue) Feb. 22, 8 p.m., $10, sold out Grimes and oOoOO With Born Gold, Yalls Rickshaw Shop 155 Fell St., SF 2012.noisepop.com

The Budos Band

Few bands working within the new wave of funk revivalism during the past decade are as tight as The Budos Band. The Brooklyn-based outfit has released all three of their records, each simply self-titled and numbered, on Daptone Records, home to powerhouse soulstress, Sharon Jones. But The Budos Band has a bit more of a worldly spectrum than other Daptone releases firmly rooted in 1960s R&B. They take influence ultimately from the funk diaspora launched by James Brown: Fela Kuti’s afrobeat jams and the Latin soul of Fania, to the psychedelic ethio-jazz culled by Mulatu Astatke. The drums are deep in the pocket, wah-wah guitars get gritty, and the horn section hits hard, all with the frenetic urgency of a score straight out of a Melvin Van Peebles’ blaxpoitation flick. (Michael Krimper) Feb. 23, 7:30 p.m., $20 With Allah-Las, Pickwick, Big Tree Independent 628 Divisadero St., SF 2012.noisepop.com

Jolie Holland

This longtime San Franciscan (and seventhgeneration Texan) may call the road her home — with brief pauses for righteous swimming holes — but we’ll always think of her as a perfectly impure product of the Bay’s musical bohemia, the latest in long line of city songsmiths succored on prog politics, cultural patchwork, and high times. Whether Holland’s warbling about her mind reeling, blood bleeding on “Black Stars,” that wicked good “Old Fashioned Morphine,” or real-world psychic vampires (referenced in the title of her latest long-player, Pint of Blood (Anti), she taps a deep vein of blues —one related to a familial history steeped in Texas swing and her own soulful explorations here and abroad. This waltz around, she alights in trio form, playing with Carey Lamprecht and Keith Cary. Long may she ramble and roam. (Kimberly Chun) With Will Sprott of the Mumlers, Dreams, and Emily Jane White Feb. 24, 7 p.m., $16.50–$18.50 Swedish American Hall 2174 Market, SF 2012.noisepop.com

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arts + culture: noise pop

azz eveRywheRe:Big FReedia iS BRinging heR BOOty Shake tO nOiSe POP.

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matthew deaR .BUUIFX %FBS IBT B UBMFOU GPS TVSQSJTJOHMZ SFXBSEJOH EFUPVST 8JUI "TB #SFFE (IPTUMZ JO IF EFQBSUFE GSPN UIF QVSF QFSDVTTJWF CMJTT PG NJOJNBM UFDIOP BOE IPVTF XIJDI PDDV QJFE UIF TDPQF PG IJT QSFWJPVT FGGPSUT JO GBWPS PG QPQ TPOH TUSVDUVSFT BOE WPDBM TUZMJOHT JO UIF TQJSJU PG #SJBO &OP .Z GBWPSJUF XJOEJOH SPBE DBNF XJUI ¾T #MBDL $JUZ (IPTUMZ B SFDPSE QSFGBDFE CZ CVCCMZ WPDBMT BOE SIZUINT XIPTF MJHIUOFTT RVJDLMZ EJTQFSTFT JOUP BO PSHJBTUJD TPSU PG EFOTJUZ UZQJDBM PG GJMN OPJS¾T DSPXEFE VSCBO MBOETDBQFT BOE UIF MVTUGVM FODPVOUFST UIFZ UFOE UP QSPNQU -BTU NPOUI¾T )FBEDBHF &1 (IPTUMZ NBSLT UIF NPTU SFDFOU UBOHFOU JOUP ESVN QBUUFSOT UIBU HMJEF BOE TLJUUFS CVU JG .BUUIFX %FBS¾T QBTU XBOEFSJOHT BSF BOZ JOEJDB UJPO JU QSPNJTFT ZFU BOPUIFS GSVJUGVM QBUIXBZ JO UIF FWFS FYQBOEJOH NVMUJWFSTF PG IJT TPVOE QSPEVDUJPO (michael krimper) Feb. 24, 8 p.m., $16 With Maus Haus, Exray’s, Tropicle Popsicle, DJ Mossmoss Public Works 161 Erie St., SF 2012.noisepop.com

veROnica FallS 5IFSF BSF B MPU PG HSFBU CBOET SFUVSOJOH UP UIF #BZ "SFB UIJT ZFBS EVSJOH /PJTF 1PQ CVU POF JO QBSUJDVMBS IBTO¾U NBEF JU ZFU 7FSPOJDB 'BMMT XBT PSJHJOBMMZ TDIFEVMFE GPS JUT EFCVU 4' QFSGPSNBODF BU UIF #SJDL BOE .PSUBS .VTJD )BMM MBTU 4FQUFNCFS XIFO BO JTTVF XJUI WJTBT GPSDFE UIF 6, RVBSUFU PG JOEJF QPQ NPSCJE SPNBOUJDT UP DBODFM BU UIF MBTU NJOVUF "U UIF UJNF PG UIF DBODFM MBUJPO UIF HSPVQ XBT BMTP SFMFBTJOH JUT GJSTU TFMG UJUMFE -1 PO 4MVNCFSMBOE 3FDPSET TP PO UIF QMVT TJEF UIFSF¾T CFFO FYUSB UJNF GPS BOZPOF BXBJUJOH 7FSPOJDB 'BMMT¾T BQQFBSBODF UP UBLF JO UIF NVTJD *U¾T BO BMCVN UIBU EFMJWFST PO UIF QSPNJTF PG FBSMZ TJOHMFT ²#FBDIZ )FBE³ BOE ²'PVOE -PWF JO B (SBWFZBSE³ ¹ B IBVOUJOHMZ SFUSP #SJUJTI TPVOE XJUI MBZFSFE WPDBMT MFE CZ UIF CJUUFSTXFFU 3PYBOOF $MJGGPSE MBJE PO UPQ PG UIF DMBTTJD DPNCJOBUJPO PG KBOHMFE HVJUBS SIZUINT BOE B QVODIZ CBDL CFBU (Ryan Prendiville) Feb. 24, 8 p.m., $14 With Bleached, Brilliant Colors, Lilac Rickshaw Stop 155 Fell, SF 2012.noisepop.com

uPSide dOwn: the cReatiOn RecORdS StORy %BOOZ 0Âľ$POOPSÂľT EPD BCPVU MFHFOEBSZ #SJUJTI JOEJF MBCFM $SFBUJPO 3FDPSET JT OBNFE CPUI GPS UIF +FTVT BOE .BSZ $IBJO TJOHMF UIBU IFMQFE MBVODIFE UIF JNQSJOU Âą BOE UIF HP GPS CSPLF BUUJUVEF TIBSFE CZ NBOZ PG UIF GSFFXIFFMJOH DIBSBDUFST JOWPMWFE JO JUT TUPSZ .PTU PG UIFN DIJNF JO UP IFMQ UFMM UIF UBMF JODMVEJOH GPVOEFS "MBO .D(FF B 4DPU XIPTF UIJDL BDDFOU JT BNPOH NBOZ DPMMFDUFE IFSF UIBU NBZ NBLF "NFSJDBOT MPOH GPS TVCUJUMFT "OE PG DPVSTF XIBU B UBMF Âą GJMMFE XJUI DPMPSGVM FODPVOUFST ESVHT NBKPS MBCFM XPPJOH ESVHT ²TIPDLJOHMZ PVU PG DPOUSPMÂł CFIBWJPS ESVHT BOE BMM PG UIF FYQFDUFE USBQQJOHT PG NVTJD CJ[ TUBSEPN 5IF TPVOEUSBDL JT GJMMFE XJUI $SFBUJPOÂľT NBOZ BMU SPDL BDJE IPVTF TIPFHB[F BOE #SJU QPQ TVDDFTT TUPSJFT JODMVEJOH 1SJNBM 4DSFBN .Z #MPPEZ 7BMFOUJOF 3JEF 4XFSWFESJWFS 5FFOBHF 'BODMVC BOE 0BTJT 8IFSF XFSF ZPV XIJMF UIFZ XFSF HFUUJOÂľ IJHI %JSFDUPS 0Âľ$POOPS BQQFBST JO QFSTPO GPS B 2 " BGUFS UIF TDSFFOJOH (cheryl eddy) Feb. 25, 7 p.m., $10 Roxie Theater 3117 16th St., SF 2012.noisepop.com/filmÂ

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BOunce with me By Ryan PRendiville arts@sfbg.com nOiSe POP Despite its continual popularity in New Orleans for the last 20 odd years, it’s been a while since the regional, uptempo, call and response driven style of dance music known as bounce has appeared on a national level. The Juvenile (featuring an adorably young Lil Wayne) track “Back That Azz Up� may be the most recognizable hit, but not the most representative of the genre, especially the rising queer-friendly subsection that Big Freedia rules as “Queen Diva.� Appearing in her nationwide debut performance on Jimmy Kimmel Live! last month Big Freedia, born Freddie Ross, possibly brought bounce back into the lives and sets of people outside of NOLA, but they may not have been getting the whole picture. “I get a lot dirtier when it’s a club performance, and I can really get raw,� Big Freedia said in a phone interview last week, “but that was for TV so it was a little more PG.� Freedia, who answers most questions with Southern politeness and a “Yes, sir,� is nothing but grateful for the experience in which her dancers worked with “one of Beyonce’s choreographers,� Frank Gatson, for the segment, but to an observer at all familiar with her reputation for wild live performances, it was pretty tame. In part it was just a matter of skin. One of Big Freedia’s signature songs at this point is “Azz Everywhere� and it’s the scantily clad dancers in particular that bring the idea to life, making moves and taking positions not unlike a 2 Live Crew show (or the Kama Sutra). We’re talking booty bumping, full splits floor humping, upside down synchronized air thrusting, and other gyrations typically reserved for strip clubs near airports and picks

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really great office Christmas parties. For Big Freedia, who comes with her own crew of male and female dancers, call and response isn’t just lyrical — meaning that when she yells “I got that gin in my system� you should probably retort “somebody gonna be my victim� — but also that people might get called out for not getting down on the dance floor. At her shows, “everyone is involved.� Big Freedia said. “Whoever wants to get onstage can get a chance to come on stage. I’m very connected with the audience so I try to make everyone involved.� This interaction with her audience was the other thing missing from the Jimmy Kimmel performance, where a crowd looked on more as spectators than participants. For her part, Freedia tries to meet people at her shows halfway, saying “I can’t put them all on stage so I have to put myself on the floor with them.� Effort means a lot for Big Freedia, who has long been known for doing shows at least six nights a week in New Orleans and continues to run a successful decorating company. She considers it part of her message that one can “Make the impossible happen being gay. Working really hard at things you have dreams behind and succeeding no matter what color, creed, walk of life.� Idealistic as that is, it also explains in part her egalitarian approach to dancing. Unlike some artists (::cough:: Sir Mix-A-Lot :: cough::) it’s not about a certain type of butt; everyone’s got one, you just have to know how to bounce it. And if you don’t know that, well, she also offers classes. 2 With hard French dJs, Vogue & tone, double duchess 9 p.m., $16; Culture Club bounce session, 11:30 a.m., $10 Public Works 161 Erie, SF 2012.noisepop.com

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FEBRUARY 15 - 21, 2012 / SFBG.com

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arTs + culTure: Trash get tickets at

pop culTure news, noTes, anD reviews

yoshis.com

Student discounts of 50% off are back! Check yoshis.com/discounts for available shows!

san francisco 1 3 3 0 f i l l m o r e s t. 4 1 5 - 6 5 5 - 5 6 0 0

YOSHI’S LOCAL TALENT SERIES

Free Music in the Lounge every night 6:30pm-11pm Weekly Jazz Jam Wed 9:30-11pm .....................................................

Wed, Feb 15

arrival from sWeden: the musiC of abba Thur-Fri, Feb 16-17

leo kottke

Sat-Sun, Feb 18-19

kenny lattimore Sun, Feb 19 1:00pm Memorial Benefit Concert

celebrating eddie marShall

bobby mcferrin bobby hutcherSon & more feat.

Mon-Wed, Feb 20-22

keith Sweat Thurs, Feb 23 8:00pm

Sol- latin Soul band ...................................................

Thurs, Feb 23 10:30pm

the motet: funk is dead!

the musiC of the grateful dead gets funkified ...................................................

Fri, Feb 24

hubert lawS

oakland

510 embarcadero west, 510-238-9200

Wed, Feb 15

the benny green trio feat. Peter waShington

& kenny waShington

..................................................

Thurs, Feb 16

bob jameS duo feat.

howard Paul

Fri-Sun, Feb 17-19

Poncho Sanchez latin band

feat. terence blanchard Mon, Feb 20

chriS cain ..................................................

Tues, Feb 21

Mardi Gras with

henry clement

& the gumbo band .................................................. Wed, Feb 22

mimi fox & bill douglass duo ..................................................

Thurs, Feb 23

davell crawford Fri-Sat, Feb 24-25

dee dee bridgewater

to billie with love All shows are all ages. Dinner Reservations Recommended.

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SATAn’S fAvoRiTe movie? Ken RuSSell’S The Devils. | courtesy of the vortex room

SucceSS in exceSS TRASH The demise of Ken Russell late last year at age 84 blew a few cobwebs off appreciation of his career, which had ever been beloved by cult-minded buffs but forgotten by most everyone else for some years. He hadn’t had a theatrical feature for two decades, and in his last years had been reduced to glorified home movies with titles like Revenge of the Elephant Man (2004) and The Fall of the Louse of Usher (2002). But for a while he was an inescapable, flamboyant, exasperating, and utterly unique presence in film, with even his detractors (who were legion) admitting his work could never be confused with anyone else’s. In 1971 he was at his zenith as the scandal and big noise (frequently self blown) of British cinema, having had a great international success with 1969’s D.H. Lawrence adaptation Women in Love, which won a previously little-known Glenda Jackson her first Oscar, and a qualified one the next year with The Music Lovers, one of the increasingly outrageous classicalcomposer biopics he’d commenced making on the BBC and continued through 1975’s Lisztomania. (Which, featuring as it did Roger Daltry as pop star Franz Liszt having lovers dance like Rockettes on his giant phallus in one fantasy scene, and Wagner reincarnated as a Nazi Frankenstein in another, presumably exhausted that genre’s desecration possibilities even for Russell.) At the time, it seemed that 1971 was the year that killed off Old Hollywood and shat on editorials

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its corpse. Movies like Stanley Kubrick’s A Clockwork Orange, Roman Polanski’s The Tragedy of Macbeth, Sam Peckinpah’s Straw Dogs, John Boorman’s Deliverance, Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song, Mike Nichols’ Carnal Knowledge, Dennis Hopper’s The Last Movie, Alan J. Pakula’s Klute, and Dusan Makavejev’s WR: Mysteries of the Organism all pushed the envelope in terms of sex, violence, and nihilism. Even in such company, Russell’s The Devils — which closes “The Second Coming of the Vortex Room,” the venue’s February series of religion-themed films — was an outstandingly bad trip, an assaultive experience as tainting and unwelcome to most as that phone-receiver tongue licking Heather Langenkamp’s ear in the original Nightmare on Elm Street (1984). The words “hallucinogenic,” “appalling,” and “tasteless” would be applied to nearly all Russell’s films, but never with such genuine revulsion as this one. Today, The Devils can be seen as perhaps his greatest, most cohesive work — being about hysteria, religious and sexual, it justified his trademark surreal excesses as no subject ever would again. Based on an Aldous Huxley novel about actual historical events, it takes place in a 17th century France beset by plague, persecution, church corruption, and court decadence. Scheming to end walled city Loudon’s independence, Cardinal Richelieu seizes on an accusation made by an unstable abbess that the leading

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local priest had seduced her entire convent via black magic. After considerable torture, said priest, Urbain Grandier, was burned at the stake, despite recanted testimonies and widespread belief that only “crime” was being in ambitious Richelieu’s way. Russell depicts Grandier (played by his go-to bulldog Oliver Reed, practicing more restraint than usual) as a lusty breaker of celibacy vows, but also as a man of true conviction compared to the hypocritical displays of faith, morality, and community-mindedness around him. Mother Superior Jeanne (Vanessa Redgrave as you’ve definitely never seen her before) is a hunchback lost in fantasy and spite, having like many of her wards not chosen this vocation, but instead been abandoned to it — back then, well-born females whose family didn’t have enough dowry money to marry them off were forcibly “married” to Jesus instead. The Devils is a fevered nightmare, unrelentingly grotesque and claustrophobic. (Russell had the inspiration of hiring Derek Jarman as his production designer — not yet a director himself, the latter devised studio bound, abstract monochrome sets more vividly oppressive than any actual historic sites could have been.) It had to be heavily cut even before getting slapped with an X rating in the U.S., excised sequences like a mad convent orgy dubbed “The Rape of Christ” assumed lost until their re-discovery a decade ago. In England the film was banned from several districts. Nearly everywhere, critical response was bilious — reviewers felt violated, music listings

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polluted, disgusted. The L.A. Times called it “a degenerate and despicable work of art,” others “pornographic” and “Satanic” outright. Those gag reflexes were understandable. The Devils is flawed, mostly in its crudely satirical aspects. And its scalding majority impact is achieved in a hyperbolic manner that makes it very hard to separate the depiction of blasphemy from the embodiment of it. Yowling “I want to shock people into awareness. I don’t believe there’s any virtue in understatement!” to Time magazine that year, Russell cared little about clarifying that distinction. A visual statement as singularly alarming as any canvas by Bosch or Bacon, its disturbance further heightened by avantgarde composer Peter Maxwell Davies’ striking score, The Devils would doubtless be more highly regarded today had it been one isolated case of delirium in an otherwise relatively sane director’s oeuvre. But the baroque excesses Russell flaunted under any circumstance, no matter how apt, made it seem just more of his reliable too muchness. The neglect his work has fallen into benefits this most serious of his features, as it allows The Devils to be seen clearly as a caterwaul of horror — not at supernatural possession but at the infinite human cruelty power and sanctimony can allow. (Dennis Harvey) 2 The Devils Feb. 23, 8 p.m. (double-feature with 1SJWJMFHF 1968), $7 donation Vortex Room 1082 Howard, SF Facebook: The Vortex Room

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BcF peRFoRmeR amaRa taBoR-Smith takeS Flight. Photo courtesy Black choreograPhers Festival

in the now 0QFOJOH XFFLFOE USJVNQIT BU UIF #MBDL $IPSFPHSBQIFST 'FTUJWBM By Rita Felciano arts@sfbg.com Dance On the opening night of its eighth year, the three-weekend “Black Choreographers Festival: Here and Now� deserved its name. The quality of the choreography and the confident performances more than confirmed that BCF is a celebration of excellent contemporary African American choreography. Four out of the five works starred as fine world premieres by local artists. They were stylistically about as diverse as you would want, but this was an evening to rejoice. The Feb. 10 audience at Oakland’s Laney College more than agreed. Reginald Ray-Savage’s Savage Jazz Dance Company looked better than it has in a long time. For Friday, February 10 he reached for an idiosyncratic collage of scores. Except for the finale, there seemed to be little jazz; still, the selections made sense, starting with a passage of pizzicato violins that played as Lavante Cervantes ceremoniously walked across the stage. But almost immediately, that calm exploded into intense, relentlessly shifting encounters among six dancers. Though tightly choreographed individually, the passages followed each other without internal logic. Transitions were sublimated into the commitment and clarity of individual moments — fierce turns, huge extensions, and traveling leaps. Every phrase had to stand on its own. One of Ray-Savage’s gifts is setting in relief individual talents: Melissa Schumann’s tearing into space, Jarrod Mayo’s floating elevations and whiplash turns. Two duets showcased the magisterial Alison Hurley. With Evan Kharazzi, Hurley assertively reversed dance’s traditional male-female relationships; her dramatic-lyrical encounter with Mayo brought out a quasi-maternal quality. Friday’s only misstep was to bring on Suman Wilson at the very end. Why, if at all, only then? With a largely changed cast and on a different stage, Robert Moses’ 2008 Approaching Thought looked like new. The current crop of dancers performed the whirlwind choreography clearly and assertively. To see Katherine Wells and Crystaldawn Bell — both of them reed-thin, long-limbed and fierce — next to each other was breathtaking. I still don’t know what the title means, but Moses must have had something in mind along the lines of contrarian relationships, since he built the work around duets. editorials

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Approaching is packed with movement ideas — unisons that splinter, duets that evaporate; a hip-hop gesture here, a ballet turn there. People send each other packing, and they embrace. Norma Fong was a one-woman threat to anything in her way; no wonder she sent a cowering Wells into the wings. Susana Arenas Pedroso’s new version of Yemaya, Ocean Mother, with live music, including her as the lead singer, evoked the give and take of the ocean with mesmerizing intensity. Supported by seven fellow dancers, Regina Tolbert’s Yemaya rolled her shoulders and swayed her skirts, gathering and releasing energy. Playful one moment and ferocious the next, she kept joining a larger whole but also metamorphosed out of it. Kendra Kimbrough Barnes showed an excerpt of In the meantime. Performed by six women, of divergent physical make-ups and approaches to dance, the work appeared to be the next step in what Barnes has explored in earlier pieces: the internal and external life of African American woman, and by extension other wives, mothers, matriarchs, and burden-carriers. She has a special ability to combine text that speaks softly about momentous issues and pair it with choreography that expands on the language. The complete work will premiere this fall. The enthusiastically received Ndozi: Ancient Truths Revealed paired Congolese drummer Kazi Malonga and longtime Dimensions Dancer Theater performer Latanya d. Tigner in a coming-of-age story. The overly long opening, with blackouts and too-somber lighting, was awkward as it introduced us to either a dream or the resurrection of a young girl who has to find herself. But to watch Tigner, guided by Malonga, being initiated into the all-male drum ensemble was seeing transformation in action. Tigner was magnificent as she first found her feet and then her rhythm. For the next two weekends, BCF will be at Dance Mission Theater with new programs, including special performances of Marc Bamuthi Joseph’s Word Becomes Flesh. 2 Black choreographers Festival: here and now 2012 Fri/17-Sat/18 and Feb. 24-25, 8 p.m.; Sun/19, 4 p.m.; Feb. 26, 7 p.m., $10-$25 Dance Mission Theater 3316 24th St., SF www.bcfhereandnow.com

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CreAtIve proteStS (leFt) And endAnGered ButterFlIeS Are key eleMentS In the SAn Bruno MountAIn Story. | Left, photo by Steve DunSky; right, photo courteSy of u.S. fiSh anD WiLDLife Service

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lIvInG the Green dreAM $POTFSWBUJPO BOE HPPE TUPSZUFMMJOH JOTQJSF "OO BOE 4UFWF %VOTLZ By Cheryl eddy cheryl@sfbg.com FIlM Bay Area filmmakers Steve and Ann Dunsky (2005’s The Greatest Good) have a pair of documentaries making waves right now: Green Fire, about conservationist Aldo Leopold, which plays at the upcoming San Francisco Green Film Festival; and Bulldozers and Butterflies, an exploration of the decades-long fight to save San Bruno Mountain. Bulldozers screened at the 2011 Green Film Festival, and has a coveted slot amid the 20th anniversary programming at Washington, D.C.’s Environmental Film Festival later this spring. (It also features Guardian editor and publisher Bruce B. Brugmann among its interviewees.) I chatted with the busy couple about their latest projects.

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SFBG I have to admit, I hadn’t even heard of Aldo Leopold until I saw Bulldozers and Butterflies, which opens with a Leopold quote. Ann dunsky I think maybe 99.9 percent of all the people we’ve ever spoken to have never heard of Aldo Leopold. But for those people who do know of him, he’s like their god. He’s had an amazing influence on the field of conservation.

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24 SAN FRANCISCO BAY GUARDIAN

wants to build on some sand dunes that are on the west side of the mountain, so that’s a fight going on right now.

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[we] decided to take some time off from our regular jobs, with the U.S. Forest Service making films, and maybe do an independent film. At that time we’d been living in Brisbane for about 20 years, and we’d heard about this amazing story that had national implications, both historically and in a contemporary sense. And since that’s what we do — we make films about conservation and conservation history — we thought we’d look into it. SFBG What was the biggest challenge you faced? Ad What intrigued us was the heart of the story, which is what you’re always looking for: the wonderful relationship and dynamic between [film subjects] Fred [Smith] and David [Schooley], these two really good friends who bonded over their joint efforts to save the mountain, and ultimately had a major falling-out about the best way to do that. So we thought, “There’s the thread that we would like to weave throughout he film.” Sd The reason we chose that Leopold quote at the beginning is that we ultimately realized that it’s a story about compromise. It’s an uncomfortable subject for a lot of people, especially in the environmental community, because it does create a lot of tension over where you draw the line. At what point do you say it’s OK to have

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some development in exchange for other protections? Ad It was a challenge to find that proper balance where we were very respectful to all sides. Telling the story completely without any narration is a very hard way to make a film, but ultimately I think it’s much more satisfying, because our voices aren’t in there trying to tell the viewer what to think. SFBG The film discusses how San Bruno Mountain was, in some ways, ground zero for the environmental movement. Sd The early 60s were a formative time for the environmental movement, and San Bruno Mountain and Save the Bay played a critical role in that. And then, you have this whole second layer of the story, which deals with the Endangered Species Act and the Habitat Conservation Plan amendment, which is also very historically significant. SFBG What’s next for San Bruno Mountain? Sd It’s really a success story, despite the compromises that were made. As we say in the film, it is one of the largest open spaces in any urban area in the United States. Most of the mountain, 2,000 acres, is state and county park. And that was the result of these protests, as well as the political and legal processes that went on in the 1970s behind the scenes. [Currently] a developer music listings

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SFBG Do you hope the movie will inspire people to take up the fight? Sd For people in the Bay Area, what I would like them to do is — when they drive by San Bruno Mountain, they don’t look at it as a big, ugly, brown lump, but actually realize that it’s a haven for biodiversity, and also that there was this 50-year ongoing struggle to save it. I think it’s important for people to know the history of their surroundings. From a national perspective, we really hope that it gets people to think about these deeper issues of conservation, questions about compromise, and questions about development versus preservation. Ad One of my favorite Leopold quotes is “Conservation without a keen realization of its vital conflicts fails to rate as authentic human drama; it falls to the level of a mere utopian dream.” I love that because I think it’s so easy to say “No development anywhere!” A lot of us would like things to be that easy, but they’re not. And I think this film, hopefully, will help people recognize that it’s not that simplistic. 2 Green Fire screens March 5 at the Green Film Festival (www.sfgreenfilmfest.org) and March 8 at the Randall Museum (www.sfns.org). For more information on Butterflies and Bulldozers, visit www.butterfliesandbulldozers.com; DVDs available for institutional and home use at www.bullfrogfilms.com.

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arts + culture: filM

Strong und drang: ZacHary Levy’S Strongman. Courtesy of ZaChary Levy

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“Bros Before Hos� tackles the rough business of being a man

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By Matt SuSSMan arts@sfbg.com FILM “The male stereotype makes masculinity not just a fact of biology but something that must be proved and re-proved, a continual quest for an ever-receding Holy Grail,â€? wrote Marc Feigen Fasteau in The Male Machine, a 1975 Gloria Steinem-approved polemic (she wrote the introduction) that attempted to catalyze American men into joining their sisters in the women’s movement in reexamining and casting off traditional gender roles. Masculinity of the variety rhapsodized by Ernest Hemingway and scrutinized by Fasteau is now something talked about in scare quotes (see Old Spice’s man on a horse) or presented as a relic of an earlier time Ă la Don Draper, even if magazines such as GQ routinely make it into a fetish object. Even a cursory scan of contemporary pop culture, from Drake’s broody makeover of hip-hop swagger to Will Arnett’s stay-at-home dad in Up All Night, shows that men today seemingly have more options, and consequently different sets of expectations, when it comes to being a man. And yet, the ties that bind to that “ever-receding Holy Grailâ€? still grip some men, causing fresh wounds and opening up old scars. It’s a struggle that runs through many of the remaining editorials

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programs in Yerba Buena Center for the Arts’ ongoing series “Bros Before Hos: Masculinity and its Discontents,â€? a collection of leftfield representations of masculinity, often under duress. The hitchhiking bisexual hustler at the center of Meat Rack (1968), a gritty piece of Gay Libera San Francisco film history, protests the loudest. Director Michael Thomas, who appears in person at the screening, has his boy-toy clanking his can against the prison bars of pop Freudian psychology as he works out his Mommy issues, turning tricks in Market Street cinemas (appropriate, given that Thomas owned the infamous Strand Theater and later founded its namesake, indie film distributor Strand Releasing). Although the film’s sexual politics are at times as confused as its protagonist’s, Meat Rack depicts with lysergic abandon the panic that can happen when the injunction to be a man is simply too much to bear. That pressure is also touched on again and again by the various Finnish men Joonas BerghĂŁll and Mika Hotakainen interviewed for their tender documentary Steam of Life (2011). Within the steam-filled confession booth of a sauna, men talk candidly and emotively about their lives, loves, and losses, their famous Scandinavian reserve seemingly melting away into streams picks

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of tears with each new puff of steam. “What are the options for boys?� a solider asks a benchmate, reflecting on his inability to mourn. “Silence and drinking� Steam of Life wears its nationalism, as well as its heart, on its sleeve, intercutting gorgeous long shots of the Finnish countryside between its in-the-buff interviews, and ending with a dedication, not merely to its subjects, but to, “all Finnish men.� But the ballad of aging strongman Stanley Pleskun, a.k.a. Stanless Steel, as documented in Zachary Levy’s Strongman (2009), can be called uniquely American. Pleskun’ abilities are the stuff of classic tall tales — he can lift 10,000-pound trucks with his legs and hold aloft three adults with just one finger — even if his chaotic home life and uphill battle to keep his career going, sympathetically captured by Levy, is straight Arthur Miller. For all his might, Pleskun is at times painfully oblivious to his emotional shortcomings, making his quest for the ever-receding Holy Grail of fame and glory one of the rougher paths that “Bros Before Hos� traces. 2

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SLatS aLL: “3020 Laguna StREEt In ExItuM” tRanSfoRMS a dooMEd doMIcILE Into nInE aRtwoRkS, IncLudIng cHRIS fRaSER’S “outLInE.” | Photos courtesy of highlight gallery

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Carletta Sue Kay, Helene Renaut, Porchlight Open Door, Two Car Garage, Hank IV, Bill Orcutt, They Are All Dead, MJ’s Brass Boppers

26 SAN FRANCISCO BAY GUARDIAN

HaIRy EyEBaLL Aside from its prime Cow Hollow location, the modest single floor, above-garage residence at 3020 Laguna Street is a largely unremarkable piece of real estate. Over its 150-year existence it has served as a home to people now forgotten, any relations of its last known occupants having cut all ties to this particular place. What’s left is the building itself, which, judging from its dingy stucco exterior and the tidy beaver dam of exposed lath covering what had been a bay window, looks as if it has an imminent appointment with the wrecking ball. The house is indeed slated for demolition due to structural instability. But the lath-work exterior is in fact one of nine installations built in, on, and outside the house for Highlight Gallery’s inaugural site-specific project “3020 Laguna Street in Exitum.” Real estate developer and Highlight Gallery founder-director Amir Mortazavi, along with cocurator David Kasprzak gave each participating artist the stipulation that, aside from fasteners, they could only use materials sourced from the house itself. The resulting pieces turn the space inside out, making visible the domicile’s history as well as its bones, while also bringing in new bodies to reside — however temporarily editorials

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— within its walls. In short, 3020 Laguna Street in Exitum returns something of the “home” to this house in its final days. Starting from the outside, Randy Colosky’s “Quantum Entanglement of the Carpenters Union Local,” a clean line cut into the building’s stucco exterior with two rotary saw blades protruding from either end, is a visual chicken-egg puzzle. The blades appear as if they were cutting their way out or had been simply left there mid-job. Upon entering a narrow hallway, one is immediately drawn into the front room on the right where Chris Fraser’s “Outline” — the aforementioned beaver dam — can be properly experienced. Fraser stripped the exterior wall to its studs and lath, producing a Venetian blind-style grating that turns the brightly whitewashed walls into a canvas for shadow and sunlight to play off. When I visited the site late on a sunny afternoon, visitors understandably congregated near “Outline.” It is a serene, almost patio-like space in which the outside world, still so near, is transformed into flickering bands of movement. Afternoon shadows create moiré patterns of interference on the walls. The other focal point was Andy Vogt’s “Drawn Out,” perhaps the most technically involved and architecturally ambitious installation aside from

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Fraser’s. Vogt cut a diagonal path into the floorboards between the kitchen entrance and what had been a window, excavating it as a single piece. He then decreased the height of the floor joists below the cut and put the floor back in place, creating a ramp to nowhere that draws the eye from the kitchen down to the where the wall had been to a patch of scrubby bamboo that has taken root in the crevice between the house and the neighbors’. Not all the interventions are as heavy on reconstruction as Fraser’s and Vogt’s. For “Nothing to No Thing” Jesse Schlesinger camped out in what was the bedroom for 28 days, from new moon to new moon, using elements from the room—mainly a baseboard and door trim — to create a bed frame and stools, and invited visitors to join him for tea and coffee. Aside from the furniture itself, the only traces of these visits are the used tea leaves and coffee filters, a guest log, and, in a decidedly homey touch, the height of each guest recorded on the doorframe. Christine M. Peterson’s “Shift (Plane),” which transforms a large storage area off of the kitchen by detaching and radially shifting the facade of closet doors that covered one wall, and Yulia Pinkusevich’s “Data Mass Projection,” a basement installation created out of telephone and data wires found throughout the music listings

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house that have been stripped and hung to resemble a light spectrometer, are formally pleasing yet don’t quite reveal the space anew. If this project can said to be haunted, it is by the ghost of Gordon Matta-Clark, the 1970s New York-based artist and architect best known for those works in which he dissected existing buildings, often slicing into and opening them up, or engaged with marginal and neglected urban spaces he termed “nonsites.” I’m not sure if 3020 Laguna, or if any piece of marketable property in our 7x7 real estate bubble, would qualify as the latter. Matta-Clark was working at a time when New York City developers were throwing money into large corporate construction projects that sought to bulldoze and build over much of the Big Apple’s infrastructural rot and many Americans were fleeing to the suburbs. His pieces at both urban and suburban sites were informed by — and drew attention to — this shifting architectural landscape. Despite the elegiac overtures of some the pieces, the stakes at 3020 in Exitum feel smaller even if the project is engaging as a series of formal experiments in spatial perception. 2 3020 Laguna Street in exitum 3020 Laguna, SF Sat/18 and Sat/25, 2 p.m.-7 p.m. (415) 529-1221 www.highlightgallery.com/project

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fIre In the hOLe By Marke B. marke@sfbg.com SUPer eGO They call her cinnamon shot/ because she’s quick and hot/ and when she’s really on?/ She’s a sake booomb! I recently affirmed — tipsier than the Costa Concordia and twice as cruisy — that one of my all-time favorite bars is that Sapphic Mission watering hole, the Lexington Club (3464 19th St., SF. www.lexingtonclub.com), wherein ace bartender Amy and a gaggle of scrappy lesbians got me good and watered on the cheap. The Lex is a classic. But let’s stumble through some of the new joints in town that have just thrown open their bar doors. Social Study (1795 Geary, SF. 415-292-7417) in the Fillmore is a chill, evening nook where you’ll meet your dream sexy librarian. It’s beer and wine only: buy her a couple glasses so she’ll let down her hair and flip it around the brick-walled space like a Van Halen video. In Bernal Heights, Iron and Gold (3187 Mission, SF. 415-824-1447) took over the old Argus space — it’s all spruced up pleasantly, with one of those trendy Olde Tyme Californy wood stoves in the back, but has yet to find its flavor in the crowd and cocktail department, IMO. Dear Mom (2700 16th St., SF. 415625-3362), meanwhile, is blowing up faster than your Facebook wall did with shocking Whitney tributes from your punk pals. (They can care!) I had to slyly elbow my way through a pack of future indie rock cautionary tales to the bar, whose major architectural innovation is an extra corner for hanging onto. There I was rewarded with a PBR, so retro, and rad people-watching. You straight singles are kooky adorbs. Skip the weakish cocktails — sureditorials

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food + Drink

“vâ€?: veSSeL fIfth annIverSary 5IF ²VQTDBMFÂł DMVC JO 6OJPO 4RVBSF IBT BDUVBMMZ CFFO WFSZ HPPE UP TDSVGGZ VOEFS HSPVOE GBOT XJUI JUT BGGPSEBCMF XFFLMZ 5IVSTEBZ OJHIU UFDIOP CMBTU #BTF 8IP FMTF DPVME BGGPSE UP GMZ JO TP NBOZ &VSPQFBO %+T /PX JO IPOPS PG JUT GJGUI BOOJWFSTBSZ UIF DMVC IBT QMBOOFE B XFFL PG NPOTUFS OBNFT 8FE 4VO JODMVEJOH .PCZ " 5SBL %JHJUBMJTN BOE )FSDVMFT BOE -PWF "GGBJS $IFDL PVU UIF EFUBJMT BU XXX WFT TFMTG DPN BOE HP CJH JO BO JOUJNBUF TQBDF

eLLen ferratO 0OF PG PVS MPDBM IFSPFT PG FOFSHFUJD UFDIOP Âą UIJOL TUPSJFE T XFFLMZ 4VHBS BU UIF 4UVE Âą JT GJOBMMZ CBDL PO UIF EFDLT UP UISPX EPXO BU UIF LJDLZ NPOUIMZ %JBM 6Q QBSUZ )FS NVTDVMBS TUZMF SJHIU EPXO UP IFS UBOL UPQ NBSSJFT EFFQ ZFU GMFFU GPPUFE HSPPWFT XJUI QSPHSFTTJWF IPVTFÂľT NPSF SFXBSEJOH USBQQJOHT /JDF UP TFF ZB Thu/16, 10 p.m., $5. Public Works, 161 Erie, SF. www.publicsf.com

ewan PearSOn 'PS TJY ZFBST UIF NPOUIMZ -JHIUT %PXO -PX QBSUZ IBT CSPVHIU OFX JOUSJHVJOH TPVOET BOE PME GBWPSJUFT UP 4' Âą UIJT #SJU MFHFOE XIPTF XPSL BT .BBT JT SFWFSFE CZ UFDIOP IFBET BOE XIPÂľT CFFO QBMMJOH BSPVOE XJUI "OEZ 8FBUIFSBMM MBUFMZ CSJOHT TPNF EFFQ UFDI GVOL BOE CMFFQJOFTT KPJOJOH /FX picks

arts + culture

% "* )&* ! ' # !

prising from the folks who brought us Whiskey Thieves, Thieves Tavern, and Dirty Thieves — and the, er, “revealing� ladies room (no doors), but watch Mom transform her old El Rincon space into a neighborhood magnet. I didn’t make it to fresh-out-thebox rock Bar (80 29th St., SF.), from the Front Porch folks, because my heel broke — um, can we finally move beyond late-night food trucks to outfit-repair kiosks and touch-up huts? — but don’t fear the mustyish moniker: it’s a neat play on the stone-encrusted exterior, inherited from its days as the International Club. I’ll get there once my shoeglue dries.

Fri/17, 9:30 p.m.-4 a.m., $15 advance. Public Works, 161 Erie, SF. wwwpublicsf.com

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Fri/17, 9 p.m., $17 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

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reBOLLeDO *OUPYJDBUJOH .FYJDBO UFDIOP GSPN UIJT XBWZ IBJSFE HPPGCBMM QMFBTF FTQFDJBMMZ XIFO IZCSJEJ[FE XJUI BWBOU QPQ TUSVDUVSFT JOUP B CPVODZ GVOL XJUI POF TNBSU FZF PO SFUSP NJOJNBMJTN BOE UIF PUIFS PO CVNQ JOH SVNQT 5JN 4XFFOFZ IPTU PG /:$ÂľT JOWBMVBCMF #FBUT JO 4QBDF SBEJP TIPX PQFOT VQ Fri/17, 10 p.m., $10 before midnight with Facebook RSVP. Monarch, 101 Sixth St., SF. www.monarchsf.com, Facebook:

BrazIL CarnavaL BaLL ²/PCPEZ QBSUJFT MJLF UIF #SB[JMJBOT ³ JT UIF NPUUP PG UIF 'SJFOET PG #SB[JM XIP BSF UISPXJOH UIFJS UI PVUSBHFPVT $BSOBWBM DFMFCSBUJPO PO 4BUVSEBZ * BOE NZ TPSF CPU UPN BSF IFSF UP BGGJSN UIBU UIJT JT USVF .BSEJ (SBT JT IBSE VQPO VT BOE JU¾T 3JP¾T USBEJ UJPOBM UJNF UP TIJOF FWFO UIPVHI PVS PXO CJH $BSOBWBM TUSFFU QBSUZ EPFTO¾U IBQQFO VOUJM .BZ -FU UIPTF GFBUIFST GMZ BOE TFRVJOT TIJOF XJUI HSFBU MJWF NVTJD BOE EBODFST Sat/18, 9:30 p.m., $35. Cafe Cocomo, 650 Indiana, SF. www.brazilianevents.com

LIL MISS hOt MeSS’S rOLLer SkatInG BIrthDay extravaGanza!!! 5IJT BEPSBCMZ NFTIVHHBI ZFU QPMJUJDBMMZ TIBSQ IFS TBUJSJDBM TUBHF FYUSBWBHBO[BT BSF UP EJF GPS ESBH RVFFO UISFX POF PG UIF QBS UJFT PG XIFO IFS CJSUIEBZ #BS .JU[WBI SPMMFE BSPVOE 5IF MPOH BXBJUFE GPMMPX VQ PO XIFFMT QSPNJTFT KVTU BT NBOZ CVNQT UIVNQT BOE CFXJHHFE USJVNQIT Sun/19, 3 p.m.-8 p.m., $6 admission, $4 skate rental (or bring your own). CellSpace, 2050 Bryant, SF. www.lilmisshotmess.com 2

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FEBRUARY 15 - 21, 2012 / SFBG.com

27

50 KicK Ass Beers on DrAught over 100 different bottles, specializing in Belgians

A Beer Drinker’s PArADise! since 1987

music listings

happy hour t-f 5-8pm $3 well/draft $5 bloody mary & fry bread w/ rocky tree m/w/f/sat

K/(- ,- "/ + K 7 - 9]ĂŠ ,1 ,9ĂŠÂŁx 7pm red hots burlesque 8pm omG! karaoke /0 '30/5 300.

9pm

the brass rinGs, stranGer tonGue 30$, '0-,

/ 1,- 9]ĂŠ ,1 ,9ĂŠÂŁĂˆ

8pm

symbolick Jews, rosa Grande, Jus’ folks 30$,

, 9]Ê ,1 ,9Ê£Ç

5:30pm free oysters on the half shell 6pm dJ’s carmen & miranda at the el rio fruit stand '6/, %*4$0 101 /0 7:30pm red hots burlesque $5-10 9pm old school JamZ 0-% 4$)00- '6/, )*1 )01 0-%*&4 3 # /0 - /1, 9]Ê ,1 ,9Ê£n

9pm

seXpistolwhip

%+ +".&4 (*("/503 41*/4 16/, /&8 8"7& */%*& (05) 30-- /0 $07&3 '30/5 300. dorado, freeX 30$, %"/$& -1 9]Ê ,1 ,9Ê£™

9pm

closed sundays for winter

" 9]ĂŠ ,1 ,9ĂŠĂ“ä 1#3 8&-- %0--"3 %": "-- %": for future event info looK @ toronADo.com

hAPPY hour every Day until 6:00 pm hours: Daily 11:30 am to 2:00 am

)"*()5 45 ! '*--.03& XXX UPSPOBEP DPN

7pm 9pm

le panique, spirit in the room,

red silhouette 101 &-&$530 4)0&(";& radical Vinyl %+Âľ4 41*/

'6/, )*1)01 0-%*&4 16/, /0 /1 - 9]ĂŠ ,1 ,9ĂŠĂ“ÂŁ

5pm 7pm

$4 marGaritas all niGht! the dull richards, erma and the population, paisley niGhtmare

7pm

'0-, #-6&(3"44 #"$, 300. the onsie, JeZ 30$, "$0645*$ '3&& '30/5 300. 4)08

&@JJ@FE ,KI<<K , www.elriosf.com ~ 415-282-3325

the darkness plays the fillmore tues/21. | Photo by Marianne harris .VTJD MJTUJOHT BSF DPNQJMFE CZ &NJMZ 4BWBHF 4JODF DMVC MJGF JT VOQSFEJDUBCMF JUÂľT B HPPE JEFB UP DBMM BIFBE PS DIFDL UIF WFOVFÂľT XFCTJUF UP DPOGJSN CPPL JOHT BOE IPVST 1SJDFT BSF MJTUFE XIFO QSPWJEFE UP VT 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 15 rock /blues/hip-hop

Adam vs. Lee Huff +PIOOZ 'PMFZÂľT %VFMJOH 1JBOP QN “Arrival From Sweden: The Music of ABBAâ€? :PTIJÂľT QN Asteroids Galaxy Tour *OEFQFOEFOU QN Bitter Honeys, Tomorrow Men, Chuckleberries &MCP 3PPN QN Gary Clark Jr., White Buffalo, White Dress (SFBU "NFSJDBO .VTJD )BMM QN Damir +PIOOZ 'PMFZÂľT QN GSFF Daniel Ellsworth and the Grand Lakes, Kelly McFarling, Goodnight Texas #SJDL BOE .PSUBS .VTJD )BMM QN Grimble Grumble, Soft Bombs, Space Waves )FNMPDL 5BWFSO QN Ziek McCarter and the Soul Train Revival Band #PPN #PPN 3PPN QN Voxel, Naked Fiction, Hungry Hungry Ghost #PUUPN PG UIF )JMM QN Todd Wolfe #JTDVJUT BOE #MVFT BOE QN

jazz/new music DAVE “The BestE VComedy E R Y T UClub E S D Ain Y The 2 FUSA!� O R 1 –W I TCHAPPELLE H THIS

AD EVERY SUNDAY! S F COMEDY S HOWCASE

SF COMEDY SHOWCASE - EVERY SUNDAY!

O=<F=K<9Q *')- % K9LMJ<9Q *')0 From ron White’s Comedy salute to the troops!

JG:=JL @9OCAFK rob Cantrell, Caitlin Gill

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With speCial Guests matt Gonzalez, marilyn pittman, Casey ley & Garrin benField! O=<F=K<9Q *'** % K9LMJ<9Q *'*From the hanGoVer 1 & 2 and mad tV!

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phil hanley, marCella arGuello O=<F=K<9Q *'*1 % K9LMJ<9Q +'+ From letterman and Conan!

BAE K@GJL

matt FulChiron, natasha muse HMF;@DAF=;GE=<Q;DM:&;GE >9;=:GGC&;GE'HMF;@DAF=K> LOALL=J&;GE'HMF;@DAF=K>

444 BATTERY STREET • 18 & OVER • 2 DRINK MINIMUM • ALL SHOWS ARE LIVE AND SUBJECT TO CHANGE • 415-397-7573

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-YVT ;OL 4HYYPHNL 9LM HUK *VTLK` *LU[YHS ALL SHOWS: Cover charge plus two beverage minimum • 18 & older with valid ID 915 COLUMBUS AVENUE (@ LOMBARD), SAN FRANCISCO • SHOW INFO: 415-928-4320 Validated Parking @ Anchorage Garage, 500 Beach St.

WWW.COBBSCOMEDY.COM

Call the box office for no service charges! Limit 8 tickets per person. All dates, acts and ticket prices are subject to change without notice. All tickets are subject to applicable service charges.

28 SAN FRANCISCO BAY GUARDIAN

for more music content visit sfbg.com/noise

editorials

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Cat’s Corner with Nathan Dias 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Cosmo AlleyCats -F $PMPOJBM $PTNP 1MBDF 4' XXX MFDPMPOJBMTG DPN QN Dink Dink Dink, Gaucho, Michael Abraham "NOFTJB QN GSFF Greg Gotelli Quartet .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

folk / world/country

“Hump Day Bluegrass� featuring Trespassers, Windy Hill, and more $BGF %V /PSE QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM

Class Actress, Painted Palms, Epicsauce DJs $BM "DBEFNZ PG 4DJFODFT .VTJD $PODPVSTF 4' QN QN /PJTF 1PQ QSF QBSUZ Clusterfunk #PPN #PPN 3PPN QN Fredrik, Cassowary, Mike Dineen )FNMPDL 5BWFSO QN Lee Huff vs. Adam +PIOOZ 'PMFZÂľT %VFMJOH 1JBOP QN Kamp Camille, Fox & Woman, Buxter Hootn )FNMPDL 5BWFSO QN Ms. Lauryn Hill 8BSGJFME QN Pocket Full of Rye, Garrin Benfield, Local Hero, Before the Brave, Little Wolves, Headcavern %/" -PVOHF QN Stan Erhart Band +PIOOZ 'PMFZÂľT QN GSFF Filthy Thieving Bastards, Mighty Regis, Mr. Lonesome and the Bluebelles 5IFF 1BSLTJEF QN

jazz/new music

Blues organ party 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Leo Kottke :PTIJÂľT QN Tom Lander & Friends .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF. Della Reese 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Savanna Jazz Jam with Nora Maki 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN

folk / world/country

“Blue Ribbon Showcaseâ€? with Supermule, James Nash, Nomads #SJDL BOE .PSUBS .VTJD )BMM QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM “Honky Tonk Showdownâ€? featuring Misisipi Mike & the Midnight Gamblers, Mad Cow String Band, and more $BGF %V /PSE QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM JimBo Trout and the Fishpeople "UMBT $BGF "MBCBNB 4' XXX BUMBTDBGF OFU QN GSFF Twang! Honky Tonk 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX UXBOHIPOLZUPOL DPN QN -JWF DPVOUSZ NVTJD EBODJOH BOE HJWFBXBZT

dance clubs

Booty Call 2 #BS $BTUSP 4' XXX CPPUZDBM MXFEOFTEBZT DPN QN +VBOJUB .03& BOE +PTIVB + IPTU UIJT EBODF QBSUZ Coo-Yah! 4PN UI 4U 4' QN GSFF %+T %BOFFLBI BOE (SFFO # TQJO SFHHBF BOE EBODFIBMM XJUI XFFLMZ HVFTUT Mary Go Round -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN %SBH XJUI 4VQQPTJUPSJ 4QFMMJOH .FSDFEF[ .VOSP BOE (JOHFS 4OBQ Megatallica 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX NFHBUBMMJDB DPN QN GSFF )FBWZ NFUBM IBOHPVU Vespa Beat #MJTT #BS UI 4U 4' XXX CMJTTCBSTG DPN QN GSFF .4, GN TQJOT SBSF HSPPWFT FMFDUSPTXJOH BOE CPPHJF “Vâ€? Obey the Kitty with Digitalism DJ set, Justin Milla 7FTTFM $BNQUPO 4' XXX WFTTFMTG DPN QN

Afrolicious &MCP 3PPN QN 8JUI %+ IPTU 1MFBTVSFNBLFS TQJOOJOH "GSPCFBU 5SPQJDgMJB FMFDUSP TBNCB BOE GVOL BOE TQFDJBM MJWF HVFTU $BOEFMBSJB Arcade -PPLPVU QN GSFF *OEJF EBODF QBSUZ Get Low 4PN UI 4U 4' QN GSFF +FSSZ /JDF BOE "OU TQJO )JQ )PQ ÂľT BOE 4PVM XJUI XFFLMZ HVFTUT RAW: San Francisco presents ACTIVATE 'PMTPN 4' XXX DPN QN .VTJD BSU BOE GBTIJPO )PTUFE CZ +PF .PVTFQBE NVTJD CZ %+ .BUU )B[F Thursdays at the Cat Club $BU $MVC QN GSFF CFGPSF QN 5XP EBODF GMPPST CVNQJOÂľ XJUI UIF CFTU PG T NBJOTUSFBN BOE VOEFSHSPVOE XJUI %+ÂľT %BNPO 4UFWF 8BTIJOHUPO %BOHFSPVT %BO BOE HVFTUT Tropicana .BESPOF "SU #BS QN GSFF 4BMTB DVNCJB SFHHBFUPO BOE NPSF XJUI %+T %PO #VTUBNBOUF "QPDPMZQUP 4S 4BFO 4BOUFSP BOE .S & “Vâ€? Base featuring Moby 7FTTFM $BNQUPO 4' XXX WFTTFMTG DPN QN

thursday 16

friday 17

rock /blues/hip-hop

rock /blues/hip-hop

dance clubs

Butcher Babies, Death Valley High, Eightfourseven, King Loses Crown #PUUPN PG UIF )JMM QN Grady Champion #JTDVJUT BOE #MVFT BOE QN Chelsea TK, Stereo Glitter with Chuck Gonzalez, Harbours, Michael Warren Grant, Estero Blanco "NOFTJB QN

food + Drink

picks

arts + culture

Alma Desnuda #PPN #PPN 3PPN QN Apogee Sound Club, Dark Materials 2VFFOÂľT /BJMT .JTTJPO 4' XXX RVFFOTOBJMTQSPKFDUT DPN QN GSFF “Cosmic Love Ballâ€? featuring Eoto & Materialized, more 'JMMNPSF QN Bart Davenport, Sam Flax & Higher Color, Extra Classic, DJ Neil Martinson $BGF %V /PSE QN

music listings

stage listings

Grady Champion #JTDVJUT BOE #MVFT BOE QN El Elle, LleGGs, Midnight Door #PUUPN PG UIF )JMM QN 40Love, J-Billion, DJs Whooligan, Mikos &MCP 3PPN QN JGB with Melvin Seals (SFBU "NFSJDBO .VTJD )BMM QN Judgement Day, Whiskerman, Matthew Joseph Payne 3JDLTIBX 4UPQ QN Robert Earl Keen, Tiny Television 4MJNÂľT QN Eliot Lipp, Mux Mool, Random Rab 'PMTPN 4' XXX GPMTPN DPN QN Jason Marion, Adam, Lee Huff +PIOOZ 'PMFZÂľT %VFMJOH 1JBOP QN Saint Motel, Hundred Days, Hotel Eden #SJDL BOE .PSUBS .VTJD )BMM QN Sole +PIOOZ 'PMFZÂľT QN GSFF Symphony X, Ice Earth, Warbringer 3FHFODZ #BMMSPPN QN Terry Malts, Airfix Kits, Cocktails )FNMPDL 5BWFSO QN Trainwreck Riders, Blank Tapes, Human Condition *OEFQFOEFOU QN Phoebe Violet 4BO 'SBODJTDP 'JTIFSNBOÂľT 8IBSG )PTUFM 'PSU .BTPO #VJMEJOH ! $BGF 'SBODP 4' XXX OPSDBMIPTUFMT PSH QN GSFF Wicked Mercies, Tontons, Gypsy Moonlight Band 5IFF 1BSLTJEF QN

jazz/new music

Audium #VTI 4' XXX BVEJVN PSH QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Benn Bacot 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Enrico Rava Tribe )FSCTU 5IFBUFS 7BO /FTT 4' XXX TGKB[[ PSH QN Leo Kottke :PTIJÂľT QN Della Reese 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

folk / world/country

“Bluegrass Bonanza!â€? with Earl Brothers, Henhouse Prowlers, and more 1MPVHI 4UBST QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM Nell Robinson & Jim Nunally 4U $ZQFSJBOÂľT &QJTDPQBM $IVSDI 5VSL 4' XXX OPFWBM MFZNVTJDTFSJFT DPN QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM “San Francisco Tamburitza Festivalâ€? $SPBUJPO "NFSJDBO $VMUVSBM $FOUFS 0OPEBHB 4' XXX DSPBUJBOBNFSJDBOXFC PSH QN 8JUI 5BNCVSBTLJ 0SLFTUBS .PNDJ BOE +FSSZ (SDFWJDI 5BNCVSJU[B 0SDIFTUSB

dance clubs

Dancing Ghosts: A Gothic Lovesong $BU $MVC 'PMTPN 4' XXX EBODJOHHIPTUT DPN QN Hella Tight "NOFTJB QN LDL’s Sixth Anniversary 1VCMJD 8PSLT QN 8JUI &XBO 1FBSTPO 5PEE &EXBSET %BOOZ %B[F BOE NPSF Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJOOJOH PME TDIPPM GVOL IJQ IPQ BOE 3 # Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Pledge: Fraternal -PPLPVU QN #FOFGJUJOH -(#5 BOE OPOQSPGJU PSHBOJ[BUJPOT #PUUPNMFTT LFHHFS DVQT BOE QBEEMJOH CPPUI XJUI %+ $ISJTUPQIFS # BOE %+ #SJBO .BJFS Trannyshack: Michael vs. Janet Jackson Tribute %/" -PVOHF QN

saturday 18 rock /blues/hip-hop

Bhi Bhiman, Vandella, Misisipi Mike & Cree Rider #PUUPN PG UIF )JMM QN Bite, Castles in Spain, Stella Royale, Lord Rifa, Pops, Ol’ Cheeky Bastards & Cherry Doll 5IFF 1BSLTJEF QN GSFF Curtis Bumpy: Afrofunk Experience #SJDL BOE .PSUBS .VTJD )BMM QN C$ and the Players Inc. #PPN #PPN 3PPN QN Fusion +PIOOZ 'PMFZ¾T QN GSFF Gomez, Hey Rosetta 'JMMNPSF QN Good Night Robot, Golda and the Guns, Savages #JOEMFTUJGG 4UVEJPT UI 4U 4' XXX CJOEMFTUJGG TUVEJP PSH QN #FOFGJU GPS #JOEMFTUJGG 4UVEJPT Howlin Rain, Soft White Sixties, Zodiac Death Valley *OEFQFOEFOU QN Lee Huff, Adam, Jason Marion +PIOOZ 'PMFZ¾T %VFMJOH 1JBOP QN Garland Jeffreys, Uncle Frank and the CoDefendents 4MJN¾T QN

on the cheap

film listings

classifieds

music listings Machine Head, Suicide Silence, Darkest Hour 8BSGJFME QN Johm Nemeth #JTDVJUT BOE #MVFT BOE QN Neutral Uke Hotel )PUFM 6UBI QN Oil!, Radio Reelers, Barbaric Thugs, Paper Bags 5IFF 1BSLTJEF QN 3BNPOFT USJCVUF TIPX Oliver, Viceroy, American Royalty, Fortune Cookie 3JDLTIBX 4UPQ QN Pomplamoose, A B & the Sea (SFBU "NFSJDBO .VTJD )BMM QN Thee Swank Bastards, Grave Brothers Deluxe .BLF 0VU 3PPN QN Victory and Associates, Police Teeth, Repeat After Me )FNMPDL 5BWFSO QN

jazz/new music

Audium #VTI 4' XXX BVEJVN PSH QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Kenny Lattimore :PTIJÂľT BOE QN Cece Peniston & Her Life Band 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Della Reese 3SB[[ 3PPN .BTPO 4' XXX

UIFSSB[[SPPN DPN QN Suzanna Smith 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN

folk / world/country

“Alt Bluegrass Show� featuring Pine Box Boys, Jugtown Pirates, Hang Jones $BGF %V /PSE QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM “Brazilian Concert for Dogs� 8BH )PUFMT UI 4U 4' KPTFIHBSDJB FWFOUCSJUF DPN QN 8JUI TJOHFS +PTFI (BSDJB Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

dance clubs

Bootie SF: King of Pants %/" -PVOHF QN 8JUI %+ 'SFEEZ ,JOH PG 1BOUT BOE SFTJEFOU %+T "ESJBO BOE .ZTUFSJPVT % Fringe .BESPOF "SU #BS QN *OEJF NVTJD WJEFP EBODF QBSUZ XJUI %+ #MPOEJF , BOE TVC0DUBWF

O.K. Hole "NOFTJB QN Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Radio Franco #JTTBQ UI 4U 4' QN 3PDL $IBOTPO 'SBODBJTF #MVFT 4FOFHBMFTF GPPE BOE MJWF NVTJD Saturday Night Soul Party &MCP 3PPN QN 8JUI %+T -VDLZ 1BVM 1BVM BOE 1IFOHSFO 0TXBME Smiths Night SF 3PDL *U 3PPN QN GSFF 3FWFM JO T NVTJD GSPN UIF 4NJUIT +PZ %JWJTJPO /FX 0SEFS BOE NPSF Wild Nights ,PL #BS4' 'PMTPN 4' XXX LPLCBSTG DPN QN 8JUI %+ 'SBOL 8JME

sunday 19 rock /blues/hip-hop

“Benefit for Visual Aid: Confession feat.

Hercules & Love Affair DJ set 7FTTFM $BNQUPO 4' XXX WFTTFMTG DPN QN Buck 65, Busdriver, Kristoff Krane 4MJNÂľT QN Xandra Copra, Upsets "NOFTJB QN Heart of Orion, Haunted Echo, Eggplant Casino #SJDL BOE .PSUBS .VTJD )BMM QN Hounds & Harlots, Radio Revolt, Time Traveling Assasins ,OPDLPVU QN .POJLBÂľT TU #JSUIEBZ Retox, Doomsday Student, Secret Fun Club, Hides 5IFF 1BSLTJEF QN Sioux City Kid, Disposition "NOFTJB QN Donovan Quinn, Colossal Yes, Head Cavern )FNMPDL 5BWFSO QN

jazz/new music

“Celebrating Eddie Marshall: Memorial Benefit Concertâ€? :PTIJÂľT QN 8JUI #PCCZ .D'FSSJO #PCCZ )VUDIFSTPO BOE NPSF

Kenny Lattimore :PTIJÂľT BOE QN Cece Peniston & Her Life Band 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Savanna Jazz Jam with Kelly Park 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Sophisticated Ladies Quartet #MJTT #BS UI 4U 4' XXX CMJTTCBSTG DPN QN

folk / world/country

“Festival Closing Night� featuring Crooked Jades, Deadly Gentleman $BGF %V /PSE QN 4BO 'SBODJTDP #MVFHSBTT 0ME 5JNF 'FTUJWBM “San Francisco Tamburitza Festival� $SPBUJPO "NFSJDBO $VMUVSBM $FOUFS 0OPEBHB 4' XXX DSPBUJBOBNFSJDBOXFC PSH QN 8JUI 5BNCVSBTLJ 0SLFTUBS .PNDJ BOE +FSSZ (SDFWJDI 5BNCVSJU[B 0SDIFTUSB CONTINUES ON PAGE 30 >>

GVMM!CBS!8!EBZT!ÂŚ!Ibqqz!Ipvs!N.G-!3.9qn PQFO!FWFSZ!EBZ!BU!3QN LJUDIFO!PQFO!EBJMZ

Wed 2/15 dAnIEL ELLSwORtH And tHE GREAt LAkES

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Sat 2/18 cuRtIS BuMpy, AfROfunk ExpERIEncE

TBUVSEBZ!3029!4QN!GSFF IBQQZ!IPVS!TIPX BDPVTUJD!GVSZ!SFDPSET! QSFTFOUT;SBNPOFT!USJCVUF!.! TIFFOB!XBT!B!GPML!SPDLFS CJUF!!ÂŚ!DBTUMFT!JO!TQBJO!ÂŚ! TUFMMB!SPZBMF!ÂŚ!MPSE!SJGB!ÂŚ! QPQT!ÂŚ!PMĂ–!DIFFLZ!CBTUBSET!ÂŚ! DIFSSZ!EPMM

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SBEJP!SFFMFST UIF!CBSCBSJD!UIVHT QBQFS!CBHT TVOEBZ!302:!!5QN!GSFF UXBOH!TVOEBZ

Wed 2/22 tOMORROwS BAd SEEdS

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thu 2/23 dIRty GHOStS

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)Nfncfst!pg!Uif!Mpdvtu*

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TFDSFU!GVO!DMVC IJEFT

The Fresh & Onlys Thao

FR KHDGOLQH

Disappears John Vanderslice FR KHDGOLQH

Talkdemonic Garrett Pierce Bird By Snow Churches

Bob Mould Overwhelming Colorfast SOD\V &RSSHU %OXH Fake Your Own Death Oranger Slouching Stars Distortion + PHPEHUV RI ÂĄCarlos!

Sat 2/18 LILA ROSE

Vir

Peppercorn

Jenny Owen Youngs

thurSday 2/23 JOLIE HOLLAnd

Books On Tape Little Hurricane

Please Do Not Fight HEDCHDG:9 7N

HDJI=:GC 8DB;DGI editorials

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Terese Taylor

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VQDPNJOH!TIPXT

3034!!.!!!UIF!NPPOMJHIU!PSDIFTUSB-!UBMLZ!UJOB 303:!.!!!UIF!CVTJOFTT-!UIF!EPXOUPXO!TUSVUT-!! ! !!!!!TZEOFZ!EVDLT 403!!!!.!!!CPCC!TBHHFUI-!QSJ[FIPH-!IFMM!TIJQ 404!!!!.!!!UIF!NFBU!TMVUT-!HJSMT!XJUI!HVOT-! !!!!!!!!!!!!!!!!JOGFSOP!PG!KPZ 4021!!.!!IPU!MVODI-!HMJUUFS!XJ[BSE-!!!!!!!!!!!!!!!! ! !!!MFDIFSPVT!HB[F-!LOJGFZ!TQPPOZ 4026!!.!!!KFOOJ!BOE!UIF!KFSLT-!XIPB!OFMMJFT 4027!!.!!FE!TDISBEFSĂ–T!NVTJD!CFBU-!UIF!SF.WPMUT 4028!!.!!TXJOHJOĂ–!VUUFST-!UIF!TUSVUT-!!!!!!!!!!!!!!!!!! ! !!!TIBSQ!PCKFDUT 4033!!.!!!QFUFS!BOE!UIF!UFTUVCF!CBCJFT-!!!!!!!!!!!!!!!!! ! !!!UIF!HFOFSBUPST-!TZEOFZ!EVDLT-!!!!!!!!!!! ! ! !!!UIF!HVJUBS!HBOHTUFST 4038!!.!!!NS/!HOPNF-!FMFDUSJD!TIFQIFSE! ! !!!'!PVUMBX

xxx/uiffqbsltjef/dpn 2711!28ui!Tusffu!ÂŚ!526.363.2441 stage listings

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FEBRUARY 15 - 21, 2012 / SFBG.com

29

Music listings SuN/19 CONT>>

Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI .FSMF +BHHFS

Dance clubs

Batcave $MVC UI 4U 4' QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI Cheryl + Girl Walk // All Day 1VCMJD 8PSLT QN (JSM 5BMLÂľT GFBUVSF MFOHUI NVTJD WJEFP %+ /JDL %BODF 1BSUZ CZ $IFSZM Dub Mission &MCP 3PPN QN %VC SPPUT BOE DMBTTJD EBODFIBMM XJUI ;JPO 5SBJO GFBUVS JOH /FJM 1FSDI BOE %+ 3PDLFS 5 Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT

XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET

MonDay 20

folk / worlD/country

Chucho Valdes & the Afro-Cuban Messengers )FSCTU 5IFBUFS 7BO /FTT 4' XXX TGKB[[ PSH QN

Dance clubs

rock /blues/hip-hop

Hot Chelle Rae, Cady Groves, Electric Touch 4MJN¾T QN Persephone’s Bees, Christina Courtin $BGF %V /PSE QN Polica, Jhameel, Hudson Bell #PUUPN PG UIF )JMM QN

jazz/new Music

Bossa Nova 5VOOFM 5PQ #VTI 4' QN GSFF -JWF BDPVTUJD #PTTB /PWB Keith Sweat :PTIJÂľT BOE QN

Death Guild %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI +PF 3BEJP %FDBZ BOE .FMUJOH (JSM 8JUI *OEVTUSJBM (JSM #JLF (BOH M.O.M. .BESPOF "SU #BS QN GSFF %+T 5JNPUFP (JHBOUF (PSEP $BCF[B BOE $ISJT 1IMFL QMBZJOH BMM .PUPXO FWFSZ .POEBZ Sausage Party 3PTBNVOEF 4BVTBHF (SJMM .JTTJPO 4' QN GSFF %+ %BOEZ %JYPO TQJOT WJOUBHF SPDL 3 # HMPCBM CFBUT GVOL BOE EJTDP BU UIJT IBQQZ IPVS TBVTBHF TIBDL HJH Sucker Punch &MCP 3PPN QN 8JUI SFTJEFOU %+ 3BQJE 'JSF IPTUFE CZ /BUF "MXBZT

tuesDay 21

Okay, Drift, Martha Grover from Somnabulist $BGF %V /PSE QN Wooster #PPN #PPN 3PPN QN

rock /blues/hip-hop

Burmese, Sutekh Hexen, Folivore )FNMPDL 5BWFSO QN Cursive "NPFCB )BJHIU 4' XXX BNPFCB DPN QN GSFF Darkness, Foxy Shazam, Crown Jewel Defense 'JMMNPSF QN Darsombra, Grayceon, Winter Teeth Knockout. 9:30pm. Craig Finn, Mountain Moriah, Sad Baby Wolf, Ash Reiter #PUUPN PG UIF )JMM QN Jaws, Sewn Leather, Dracula Lewis, Creature Comforts "NOFTJB QN “Mardi Gras with the Fat Tuesday Band� #JTDVJUT BOE #MVFT BOE QN Andy McKee, Stephen Bennet & Antoine Dufour (SFBU "NFSJDBO .VTJD )BMM QN

jazz/new Music

Chieftains %BWJFT 4ZNQIPOZ )BMM 7BO /FTT 4' XXX TGKB[[ PSH QN 4' +B[[ Keith Sweat :PTIJÂľT BOE QN Zapp Band & Shirley Murdock 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

Dance clubs

Carnaval! &MCP 3PPN QN -JWF QFSGPS NBODFT CZ 'PHP /B 3PVQB .POEP -PLP SFTJEFOUT $BSJPDB BOE 1 4IPU Eclectic Company 4LZMBSL QN GSFF %+T 5POFT BOE +BZCFF TQJO PME TDIPPM IJQ IPQ CBTT EVC HMJUDI BOE FMFDUSP Post-Dubstep Tuesdays 4PN UI 4U 4' QN GSFF %+T %OBF #FBUT &QDPU 'PPUXFSLT TQJO 6, 'VOLZ #BTT .VTJD 2

wED ELbo room prESENTS 2/15 9pm $7

ThE bITTEr hoNEyS pLUS

ThE Tomorrow mEN ThE ChUCKLEbErrIES wITh DJ SID prESLEy

THU

Afro-TropI-ELECTrIC-SAmbA-fUNK

AfroLICIoUS

2/16 9:30pm wITh DJ/hoST: pLEASUrEmAKEr $5 AND SpECIAL gUEST:

FRI

CANDELArIA

ELbo room prESENTS

80S dAnCe pARTy dj 2Shy-Shy & dj melT W/u

40LoVE

2/17 10pm $7 b411 $10 AND DJS AfTEr whooLIgAN

J bILLIoN

SAT

2/18 10pm $10

AND mIKoS

SpINNINg 60S SoUL 45S

SATUrDAy NIghT SoUL pArTy wITh

Wed 2/15 8pm FRee!

BuRn doWn The diSCo! Thu 2/16 6-10pm FRee!

SF BeeR Week evenT

3 ShoRT FilmS! BeeR SpeCiAlS! hoSTed By BlACk STAR lAgeR 6-9pm FRee!

SugAR SnAp!

DJS

djS jZA & SpeCiAl gueSTS

LUCKy, pAUL pAUL, phENgrEN oSwALD

moToWn, Soul, diSCo

($5 DISCoUNT IN SEmI-formAL ATTIrE)

SUN

9pm FRee!

ChuB-e-FReeZ!

DUb mISSIoN prESENTS A bAy ArEA ExCLUSIVE Show ZIoN TrAIN

W/ dj Big nATe All hip-hop, All vinyl!

2/19 9pm $11 ADV (UNIVErSAL Egg/ DEEp rooT/U.K.) $15 Door fEAT. NEIL pErCh

FRi 2/17 7:30-9:30 $8

miCRo mTnS

roCKEr T

wITh oN ThE mIC, pErformINg SoNgS from

STATE of mIND pLUS

MON

DJ SEp

CRuel SummeR

AND morE

eveRy FRidAy 10pm $5

looSe joinTS!

W/ djS Tom Thump, dAmon Bell & CenTipede RARe gRoove/Funk/Soul/hip-hop & moRe!

$2 DrINK SpECIALS!!!!

SUCKEr pUNCh

2/20 10pm wITh rESIDENT DJ $5

SAT 2/18 7:30-9:30 $8

rApID fIrE (STAy goLD) AND hoST: NATE ALwAyS

TUE

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brAZILIAN wAx fAT TUEDAyS prESENTS

CArNAVAL!

2/21 9pm LIVE pErformANCES from: $7 b410 fogo NA roUpA AND $10 moNDo LoKo AfTEr pLUS rESIDENT DJS

eveRy SATuRdAy nighT! 10pm $5

el SupeRRiTmo!

RogeR mAS y el kool kyle

CumBiA, dAnCehAll, SAlSA, hip-hop

Sun 2/19 7:30pm $8

SeAWeed SWAy ShoWCASe!

CArIoCA & p-ShoT

RAChel goodRiCh • SloW moTion CoWBoyS • miChAel muSikA

wED ELbo room prESENTS

CLUb ShUTTEr

2/22 10pm $5 wITh DJS

mon 2/20 10pm FRee!!

ChiCken Coop juke

NAKo, omAr, JUSTIN

vinTAge CounTRy W/ dj TeeTS

UpComINg ThU 2/23 AfroLICIoUS frI 2/24 Z-mAN & fIST fAm rECorD rELEASE SAT 2/25 DEbASEr 4y ANNIV. pArTy EArLy: bELL wITCh SUN 2/26 DUb mISSIoN: DJ SEp

Tue 2/21 7pm $5

WRiTe CluB!

3 RoundS oF BARe-knuCkle liT 9:30pm no CoveR!

loST & Found

ADVANCE TICKETS

www.browNpApErTICKETS.Com ELbo room IS LoCATED AT 647 VALENCIA NEAr 17Th

30 SAN FRANCISCO BAY GUARDIAN

editorials

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deep & SWeeT 60S Soul 45S 3225 22nd ST. ! miSSion SF CA 94110 415-647-2888 • www.makeoutroom.com

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PUBLIC WORKS 161 Erie www.publicsf.com PURPLE ONION 140 Columbus (415) 217-8400 RASSELAS JAZZ 1534 Fillmore (415) 346-8696 RED DEVIL LOUNGE 1695 Polk (415) 921-1695 RED POPPY ART HOUSE 2698 Folsom (415) 826-2402 REGENCY BALLROOM 1300 Van Ness (415) 673-5716 RETOX LOUNGE 628 20th St (415) 626-7386

RICKSHAW STOP 155 Fell (415) 861-2011 EL RINCON 2700 16th St (415) 437-9240 EL RIO 3158 Mission (415) 282-3325 RIPTIDE BAR 3639 Taraval (415) 240-8360 ROCKIT ROOM 406 Clement (415) 387-6343 RRAZZ ROOM 222 Mason (415) 394-1189 RUBY SKYE 420 Mason (415) 693-0777

SAVANNA JAZZ 2937 Mission (415) 285-3369 SHANGHAI 1930 133 Steuart (415) 896-5600 SHINE DANCE LOUNGE 1337 Mission (415) 255-1337 SKYLARK 3089 16th St (415) 621-9294 SLIDE 430 Mason (415) 421-1916 SLIM’S 333 11th St (415) 255-0333

SOM. 2925 16th St (415) 558-8521 SPACE 550 550 Barneveld (415) 550-8286 STUD 399 Ninth St (415) 252-7883 SUB-MISSION 2183 Mission (415) 255-7227 SUPPERCLUB 657 Harrison (415) 348-0900 TEMPLE 540 Howard (415) 978-9942 1015 FOLSOM 1015 Folsom (415) 431-1200

330 RITCH 330 Ritch (415) 541-9574 TOP OF THE MARK Mark Hopkins Intercontinental Hotel 1 Nob Hill (415) 616-6916 TUNNEL TOP 601 Bush (415) 986-8900 UNDERGROUND SF 424 Haight (415) 864-7386 VESSEL 85 Campton (415) 433-8585 WARFIELD 982 Market (415) 345-0900

FREIGHT AND SALVAGE COFFEE HOUSE 1111 Addison, Berk (510) 548-1761 JUPITER 2181 Shattuck, Berk (510) THE-ROCK 924 GILMAN STREET PROJECT 924 Gilman, Berk (510) 525-9926 LA PEñA CULTURAL CENTER 3104 Shattuck, Berk (510) 849-2568 SHATTUCK DOWN LOW 2284 Shattuck, Berk (510) 548-1159

YOSHI’S SAN FRANCISCO 1330 Fillmore (415) 655-5600

BAY AREA

ANNA’S JAZZ ISLAND 2120 Allston Way, Berk (510) 841-JAZZ ASHKENAZ 1317 San Pablo, Berk (510) 525-5054 BECKETT’S 2271 Shattuck, Berk (510) 647-1790 FOX THEATER 1807 Telegraph, Oakl 1-800-745-3000

STARRY PLOUGH 3101 Shattuck, Berk (510) 841-2082 STORK CLUB 2330 Telegraph, Oakl (510) 444-6174 21 GRAND 416 25th St, Oakl (510) 444-7263 UPTOWN 1928 Telegraph, Oakl (510) 451-8100 YOSHI’S 510 Embarcadero West Jack London Square, Oakl (510) 2389200 2

TuESDay, fEbRuaRy 21 50th anniversary tour

Davies Symphony Hall

Pipe master Paddy Moloney and The Chieftains still reign supreme as the major force in Celtic music. Expect material from the new album, voice of ages, plus appearances by acclaimed vocalist Alyth McCormack and traditional Irish stepdancers.

Walk from Civic Center baRT

2/

3/

10

24

20 Keyboard Colossus

tones for dave’s bones

ChromatiC Genius

'

'

$ Herbst Theatre

Palace of fine arts Theatre

Herbst Theatre

LIVING LEGENDS & NEW DIRECTIONS

Friday, February 17

Saturday, March 3

" #

=6GJB H86GJB

Dc Y^heaVn i]gdj\] ;ZW# '* ;ZVijg^c\/ 9Vk^Y 7Vaa! ?ZhhZ 7VabZg @Vi]Zg^cZ 7gVccdX`

Sunday, March 11

Saturday, March 17

Wednesday, May 16

Thursday, May 17

Saturday, April 7

Friday & Saturday, May 18-19; Sunday, May 20

Saturday, April 14

!

Saturday, May 26

Thursday, April 19

Saturday, June 9

Friday, April 20

Sunday, June 10

Friday, March 30

Sunday, April 22

Friday, June 15

%

Saturday, June 16

Sunday, March 25

%

Saturday, March 31

Saturday, April 21

Friday, April 27

& Sunday, April 1

Saturday & Sunday, April 28–29

sfjazz.org 866-920-5299

stage listings

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!

Sunday, June 17

$

Friday, June 22

Saturday, May 5

INFO s AUDIO s VIDEO s TIX

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Saturday, May 12

Friday, April 6

$ Sunday, March 18

Friday, March 23

th

Wednesday, April 4

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ENDUP 401 Sixth St (415) 357-0827 FILLMORE 1805 Geary (415) 346-6000 540 CLUB 540 Clement (415) 752-7276 FLUID ULTRA LOUNGE 662 Mission (415) 615-6888 GLAS KAT 520 Fourth St (415) 495-6626 GRANT AND GREEN 1371 Grant (415) 693-9565 GREAT AMERICAN MUSIC HALL 859 O’Farrell (415) 885-0750 HEMLOCK TAVERN 1131 Polk (415) 923-0923 HIFI 2125 Lombard (415) 345-TONE HOTEL UTAH SALOON 500 Fourth St (415) 546-6300 ICON ULTRA LOUNGE 1192 Folsom (415) 626-4800 INDEPENDENT 628 Divisadero (415) 771-1421 INFUSION LOUNGE 124 Ellis (415) 421-8700 IRELAND’S 32 3920 Geary (415) 386-6173 JOHNNY FOLEY’S 243 O’Farrell (415) 954-0777 KIMO’S 1351 Polk (415) 885-4535 KNOCKOUT 3223 Mission (415) 550-6994 LASZLO 2526 Mission (415) 401-0810 LEXINGTON CLUB 3464 19th St (415) 863-2052 MADRONE ART BAR 500 Divisadero (415) 241-0202 MAKE-OUT ROOM 3225 22nd St (415) 647-2888 MEZZANINE 444 Jessie (415) 625-8880 MIGHTY 119 Utah (415) 626-7001 MILK 1840 Haight (415) 387-6455 MISSION ROCK CAFé 817 Terry Francois (415) 626-5355 MOJITO 1337 Grant (415) 398-1120 NICKIE’S 466 Haight (415) 255-0300 111 MINNA GALLERY 111 Minna (415) 974-1719 PARADISE LOUNGE 1501 Folsom (415) 252-5018 PARKSIDE 1600 17th St (415) 252-1330 PIER 23 Pier 23 (415) 362-5125 PLOUGH AND STARS 116 Clement (415) 751-1122 POLENG LOUNGE 1751 Fulton (415) 441-1710

2/

AMNESIA 853 Valencia (415) 970-0012 ARGUS LOUNGE 3187 Mission (415) 824-1447 ASIASF 201 Ninth St (415) 255-2742 ATLAS CAFE 3049 20th St (415) 648-1047 ATMOSPHERE 3 447 Broadway (415) 788-4623 BAMBUDDHA LOUNGE 601 Eddy (415) 885-5088 BAOBAB 3388 19th St (415) 643-3558 BEAUTY BAR 2299 Mission (415) 285-0323 BIMBO’S 365 CLUB 1025 Columbus (415) 474-0365 BISCUITS AND BLUES 401 Mason (415) 292-2583 BOLLYHOOD CAFé 3372 19th St (415) 970-0362 BOOM BOOM ROOM 1601 Fillmore (415) 673-8000 BOTTOM OF THE HILL 1233 17th St (415) 621-4455 BRICK AND MORTAR MUSIC HALL 1710 Mission www.brickandmortarmusic.com BROADWAY STUDIOS 435 Broadway (415) 291-0333 BRUNO’S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFé DU NORD 2170 Market (415) 861-5016 CASANOVA LOUNGE 527 Valencia (415) 863-9328 CAT CLUB 1190 Folsom (415) 431-3332 CLUB DELUXE 1509 Haight (415) 552-6949 CLUB 525 525 Howard (415) 339-8686 CLUB SIX 60 Sixth St (415) 863-1221 DALVA 3121 16th St (415) 252-7740 DELIRIUM 3139 16th St (415) 552-5525 DNA LOUNGE 375 11th St (415) 626-1409 DOLORES PARK CAFE 501 Dolores (414) 621-2936 DOUBLE DUTCH 3192 16th St (415) 503-1670 EDINBURGH CASTLE PUB 950 Geary (415) 885-4074 ELBO ROOM 647 Valencia (415) 552-7788. ELEMENT LOUNGE 1028 Geary (415) 571-1362

FEBRUARY 15 - 21, 2012 / SFBG.com

31

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THEATER opEning

The Real Americans .BSTI 4UVEJP 5IFBUFS 7BMFODJB 4' XXX UIFNBSTI PSH 0QFOT 'SJ QN 3VOT 'SJ QN 4BU QN 4VO QN 5ISPVHI .BSDI %BO )PZMF SFWJWFT IJT IJU TPMP TIPX BCPVU TNBMM UPXO "NFSJDB Scorched "NFSJDBO $POTFSWBUPSZ 5IFBUFS (FBSZ 4' XXX BDU TG PSH 1SFWJFXT 5IVST 4BU BOE 5VFT QN BMTP 4BU QN 0QFOT 'FC QN 3VOT 5VFT 4BU QN 'FC TIPX BU QN 8FE 4BU 4VO QN OP NBUJOFF 'FC 5ISPVHI .BSDI 0TDBS OPNJOFF %BWJE 4USBUIBJSO TUBST JO "$5µT QFSGPS

32 SAN FRANCISCO BAY GUARDIAN

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Blue/Orange -PSSBJOF )BOTCFSSZ 5IFBUSF 1PTU 4' XXX MIUTG PSH 5IVST 4BU QN BMTP 4BU QN 5ISPVHI .BSDI -PSSBJOF )BOTCFSSZ 5IFBUFS PGGFST BO VOFWFO CVU XPSUIXIJMF QSPEVDUJPO PG #SJUJTI QMBZXSJHIU +PF 1FOIBMMµT TBSEPOJD DPNFEZ PG JEFBT BOE JOTUJUVUJPOBM SBDJTN BO JOUSJHVJOHMZ GSVTUSBUJOH UISFF IBOEFS BCPVU B ZPVOH EPDUPS B CSJHIU %BO $MFHH BU B QTZDIJBUSJD UFBDIJOH IPTQJUBM XIP CFHJOT B CBUUMF SPZBM XJUI IJT TVBWF BOE QPNQPVT TVQFSWJTJOH QIZTJDJBO B DPNJ DBMMZ OJNCMF +VMJBO -PQF[ .PSJMMBT PWFS UIF SFMFBTF PG B RVFTUJPOBCMZ TBOF #MBDL QBUJFOU 0SJHJOBMMZ CSPVHIU JO CZ QPMJDF GPS DSFBUJOH B EJTUVSCBODF $ISJTUPQIFS UIF FYDFMMFOU $BSM -VNCMZ TUJMM FYIJCJUT TJHOT PG QTZ DIPTJT BOE IJT BCJMJUZ UP DBSF GPS IJNTFMG TFFNT EPVCU GVM UP UIF ZPVOH EPDUPS USFBUJOH IJN 5IF PMEFS QIZTJ DJBO BQQFBMT UP UIF QBUJFOUµT HFOFSBM DPNQFUFODF IPTQJUBM QSPDFEVSFT UIF TIPSUBHF PG CFET BOE UIF FYJHFODJFT PG DBSFFS BEWBODFNFOU JO DPVOUFSJOH UIF ZPVOHFS EPDUPSµT JOTJTUFODF PO LFFQJOH UIF QBUJFOU CFZPOE UIF NBOEBUPSZ EBZ QFSJPE SFRVJSFE CZ MBX 'PS IJT QBSU $ISJTUPQIFS OFSWPVT BOE SBUIFS NBOJD JT BU GJSTU EFTQFSBUFMZ FBHFS UP CF SFMFBTFE CBDL UP IJT QPPS #MBDL -POEPO OFJHICPSIPPE $PNQFUJOH JOUFSWJFXT XJUI UIF UXP EPDUPST DPNQMJDBUF IJT QFS TQFDUJWF BOE PVST SFQFBUFEMZ IPXFWFS BT B IFBUFE EFCBUF BCPVU NFEJDJOF JOTUJUVUJPOBMJ[BUJPO DVMUVSBM BOUFDFEFOUT UP NFOUBM ²JMMOFTT ³ DBSFFS BSDT BOE B ²DVSF GPS #MBDL QTZDIPTJT ³ MFBWF FWFSZPOFµT TBOJUZ JO EPVCU "MUIPVHI PVS BUUFOUJPO DBO CF EJTUSBDUFE CZ B UPP QFSWBEJOH TPVOE EFTJHO BOE MFTT UIBO QFSGFDU #SJUJTI BDDFOUT &ESJT $PPQFS "OJGPXPTIF EJSFDUT B TUSPOH BOE FOHBHJOH DBTU JO B QPMJUJDBMMZ SFTPOBOU OPU UP TBZ JODSFBTJOHMZ NBEEFOJOH QMBZ "WJMB

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Glengarry Glen Ross "DUPST 5IFBUSF PG 4BO 'SBODJTDP #VTI 4' XXX CSPXOQBQFSUJDLFUT DPN 'SJ 4BU QN 5ISPVHI .BSDI %BWJE .BNFUµT DVUUISPBU DPNF EZ DPVSUFTZ PG UIF "DUPST 5IFBUSF PG 4BO 'SBODJTDP Higher 5IFBUFS BU $IJMESFOµT $SFBUJWJUZ .VTFVN )PXBSE 4' XXX BDU TG PSH 8FE 4BU QN BMTP 8FE BOE 4BU QN 4VO QN "NFSJDBO $POTFSWBUPSZ 5IFBUFS QSFNJFSFT BSUJTUJD EJSFDUPS $BSFZ 1FSMPGGµT BNCJUJPVT CVU DIPQQZ QMBZ BCPVU SFOPXOFE BSDIJUFDU .JDIBFM 'SJFENBO BO BGGBCMZ FHPUJTUJDBM "OESFX 1PML BOE CSJMMJBOU CVU TUJMM VQ BOE DPNJOH &MFOB $POTUBOUJOF B SFTUMFTTMZ DMFWFS ZFU WVMOFSBCMF 3FOn "VHFTFO MPWFST XIP GJOE UIFNTFMWFT DPNQFUJOH GPS UIF TBNF DPNNJTTJPO UP EFTJHO B NFNPSJBM BU UIF TJUF PG B CVT CPNCJOH PO UIF 4FB PG (BMJMFF .BSL 3VDLFSµT EJSFDUJPO HJWFT TDPQF UP BO BENJSBCMZ UBJMPSFE QFSGPSNBODF GSPN "VHFTFO UIF TNBMM TUBHF PGGFST B SFXBSEJOH DIBODF UP XBUDI UIF "$5 WFUFSBO XPSL VQ DMPTF CVU OPU FOPVHI BUUFOUJPO HPFT UP UIF TVQQPTFE TFYVBM UFO TJPO CFUXFFO &MFOB BOE .JDIBFM XIJDI EFTQJUF TQPSBEJDBMMZ SBOEZ EJBMPHVF BOE TPNF BXLXBSE CMPDLJOH PO B NBUUSFTT JT FGGFDUJWFMZ OJM "WJMB

Jesus in India .BHJD 5IFBUSF 'PSU .BTPO $FOUFS .BSJOB BU -BHVOB 4' XXX NBHJDUIFBUSF PSH 8FE 4BU QN BMTP 4BU QN 4VO QN -MPZE 4VIµT "NFSJDBO )XBOHBQ JT TUJMM POF PG .BHJDµT TUSPOHFTU QSFNJFSFT JO SFDFOU ZFBST IJT MBUFTU NBLFT B EJTBQQPJOUJOH DPOUSBTU 5IFSFµT BHBJO BO BCTFOU GBUIFS PS UXP BOE B TFOTF PG EJTMPDBUJPO CVU 4VIµT ²+FTVT JO *OEJB³ EPFT MJUUMF PS OPUIJOH XJUI UIFN %JSFDUPS %BOJFMMB 5PQPM BTTFNCMFT B CSJHIU DBTU IFBEFE CZ NVTJ DBMMZ BEFQU DIBSNFS %BNPO %BVOOP ± PO .JDIBFM -PDIFSµT DPMPSGVM BMM FODPNQBTTJOH TUSFFU NPTBJD TFU DPNQSJTFE PG GMPPS UP XBMM TUJDLFST TQSBZ QBJOU BOE NBOEBMBT BSPVOE B DFOUSBM UIJDLFU PG BCBO EPOFE CJDZDMF XIFFMT ± CVU JU BMM TFSWFT BO JOTJQJE DISPOJDMF PG UIF EFJUZµT XBZXBSE UFFO ZFBST "WJMB

Little Brother (PVHI 4USFFU 1MBZIPVTF (PVHI 4' XXX DVTUPNNBEF PSH 5IVST 4BU QN 4VO QN 5ISPVHI 'FC $VTUPN .BEF 5IFBUSF $P QFSGPSNT +PTI $PTUFMMPµT BEBQUB UJPO PG $PSZ %PDUPSPXµT 4BO 'SBODJTDP TFU UISJMMFS Not Getting Any younger .BSTI 4BO 'SBODJTDP 4UVEJP 5IFBUFS 7BMFODJB 4' XXX UIFNBSTI PSH 'SJ QN 4BU BOE QN &YUFOEFE UISPVHI 'FC .BSHB (PNF[ JT CBDL BU UIF .BSTI B DPVQMF PG UPP CSJFG EFDBEFT BGUFS JOBVHVSBUJOH UIF UIFBUFSµT OFX TUBHF XJUI IFS GJSTU TPMP TIPX ± BO BQU TFUUJOH JO PUIFS XPSET GPS UIF XSJUFS QFSGPSNFSµT MBUFTU NPOPMPHVF B SFGMFDUJPO PO UIF JOFWJUBCMF QSPDFTT PG BHJOH GPS B -BUJOB MFTCJBO DPNFEJBO BOE BSUJTU XIP TUJMM IBOHT BU 4UBSCVDLT BOE DBOµU CF USVTUFE XJUI UIF EFUBJMT PG IFS PXO 8JLJQFEJB FOUSZ *G UIF UIPVHIU PG TPNFPOF BT QFSFOOJBMMZ JSSFWFSFOU JOTPVDJBOU BOE BQQFBMJOHMZ JNNBUVSF BT (PNF[ NBLFT ZPV EFQSFTTFE UIF TIPX JT TUSBOHFMZ FOPVHI UIF CFTU BOUJEPUF "WJMB

Olivia’s Kitchen &YJU 5IFBUSF &EEZ 4' XXX HFOFSBUJPOUIFBUSF DPN 'SJ 4BU QN 4VO QN (FOFSBUJPO5IFBUSF PGGFST UIJT ²SFNJY³ PG 4IBLFTQFBSFµT 5XFMGUI /JHIU

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Vice Palace: The Last Cockettes Musical 5ISJMMQFEEMFSTµ )ZQOPESPNF UI 4U 4' XXX UISJMMQFEEMFST DPN 'SJ 4BU QN 5ISPVHI .BSDI )PU PO UIF IJHI IFFMT PG B NPOUI SVO PG 1FBSMT 0WFS 4IBOHIBJ UIF 5ISJMMQFEEMFST BSF DPOUJOVJOH UIFJS 5IFBUSF PG UIF 3JEJDVMPVT SFWJWBM XJUI B UJUT VQ CBMMT PVU QSPEVDUJPO PG UIF $PDLFUUFTµ MBTU NVTJDBM 7JDF 1BMBDF -PPTFMZ CBTFE PO UIF UFSSJGZJOHMZ HSJN ².BTRVF PG UIF 3FE %FBUI³ CZ &EHBS "MMBO 1PF QBSU PG UIF UISJMM PG 1BMBDF JT UIF XBZ UIBU JU XFET UIF DBNQZ ESBH HMBNPVS PG 1FBSMT 0WFS 4IBOHIBJ XJUI UIF 5ISJMMQFEEMFSTµ TJH OBUVSF (SBOE (VJHOPM BFTUIFUJD 'SPN BO PQFOJOH OVNCFS TFU PO B QMBHVF TUSJDLFO TUSFFU ²5IFSFµT #MPPE PO :PVS 'BDF³ UP B DIBSNJOH MJUUMF DBCBSFU BCPVU $BMJHVMB TUBHFE XJUI MJWF BTTBTTJOBUJPOT BO VOEFSDVSSFOU PG EBSLOFTT SVOT MJLF CMPPE CFOFBUI UIF TIBNFMFTT TMBQTUJDL PG UIF UIJOMZ QMPUUFE SFWVF "T QMBHVF PCTFTTFE IPTUFTT %JWJOB -FJHI $SPX BOE IFS SJHIU IBOE ²HBM³ #FMMB &SJD 5ZTPO 8FSU[ USZ UP EJTUSBDU B HSPVQ PG TUJS DSB[Z TPDJBMJUFT GSPN UIF EBOHFST PVUTJEF UIF WJMMB XBMMT UIF FOUFSUBJONFOUT SBOHF GSPN TJMMZ UP TBMBDJPVT B TVHHFTUJWFMZ TVOH TPOH BCPVU DBNFMµT IVNQT UIF XJTUGVM CBMMBE ²+VTU B -POFMZ -JUUMF 5VSE ³ B USVMZ VOFYQFDUFE 3JUF PG 4QSJOH TUZMF EBODF OVNCFS FOUJUMFE ²'MFTI #BMMFU ³ 4VNQUVPVTMZ DPTUVNFE CZ ,BSB &NSZ DMFWFSMZ MJU CZ /JDIPMBT 5PSSF BDDPNQBOJFE CZ TPOHXSJUFS MZSJDJTU BOE PSJHJOBM $PDLFUUF 4DSVNCMZ ,PMEFXZO BOE BODIPSFE CZ B DPSF PG 5ISJMMQFEEMFS SFHVMBST 1BMBDF JT POF OJDF WJDF (MVDLTUFSO

Vigilance 1IPFOJY 5IFBUSF .BTPO 4' TFDPOEXJOE N DPN 5IVST 4BU QN 4VO QN 5ISPVHI 'FC *BO 8BMLFS 5IF 5FOEFS ,JOH EJSFDUT B TIBSQ SFWJWBM PG IJT PXO MVDJE JOWPMWJOH EPNFTUJD ESBNB BCPVU UISFF IPVTFIPMET CSPVHIU UP UIF CSJOL CZ UIF BSSJWBM PG B NFOBDJOH XPSLJOH DMBTT MPOFS 4FBNMFTTMZ TUBHFE JO B TJOHMF QBJS PG SPPNT EFTJHOFE CZ 'SFE 4IBSLFZ SFQSFTFOUJOH BMM UISFF TVCVSCBO NJEEMF DMBTT IPNFT ± BT XFMM BT EPXO TUBHF PO UIF TUSFFU XIFSF ESFBN IPNF MPUUFSZ XJOOFS %VODBO BO JNQPTJOH 4UFWFO 8FTUEBIM UISPXT IJT CFFS DBOT BOE MFFST BU UIF XJWFT BOE DIJMESFO ± 7JHJMBODF CFHJOT XJUI UISFF GSJFOET NFFUJOH VOEFS UIF QSFUFYU PG B QPLFS HBNF )PTU 7JSHJM QMBZFE XJUI HSVGG DIBSN CZ B DPNNBOE JOH .JLF /FXNBO JT B TPNFUIJOH IVTCBOE GBUIFS BOE HVZµT HVZ XIPTF .POUBOB HSPXO MJCFSUBSJBO NBDIJTNP DPNQFOTBUFT GPS UIF BHSP PG B TUPSNZ NBSSJBHF BOE SPDLZ GJOBODFT )F UBMLT UIF TVHHFTUJCMF OFCCJTIZ #FSU B TMZMZ IVNPSPVT #FO 0SUFHB BOE UIF FRVBMMZ OFSEZ CVU JOEFQFO EFOU NJOEFE %JDL B OJDFMZ MBZFSFE 4UFQIFO .VUFSTQBVHI JOUP GPSNJOH B ²DPNNJUUFF³ UP EFBM XJUI UIF USPVCMFTPNF %VODBO 8BMLFSµT XFMM IPOFE EJBMPHVF CSJOHT PVU UIF GBMTF OPUFT JO UIF TVQQPTFE QSF %VODBO IBSNPOZ SJHIU BXBZ BOE UIF QMBZ TUSJLFT CFTU BU UIF CVSJFE QPMJUJDT PG NBS SJBHF BOE GSJFOETIJQ "WJMB

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The Waiting Period .BJO4UBHF .BSTI 4BO 'SBODJTDP 7BMFODJB 4' XXX UIFNBSTI PSH 'SJ QN 4BU QN 5ISPVHI .BSDI #SJBO $PQFMBOE SFUVSOT XJUI B OFX TPMP TIPX BCPVU IJT TUSVHHMFT XJUI EFQSFTTJPO 2

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0O UIF $IFBQ MJTUJOHT BSF DPNQJMFE CZ 4PPKJO $IBOH 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTU JOHT TFF 1JDLT

BOE MPDBM SBODI PXOFST San Francisco Childhood: Memories of a Great City Seen Through the Eyes of Its Children author discussion (SFFO "SDBEF .BSLFU 4' XXX UIFHSFFOBSDBEF DPN Q N GSFF 5IJT DJUZ IBT BMXBZT CFFO B IPPU &EJUPS BOE BVUIPS +PIO WBO EFS ;FF IBT QVU UPHFUIFS XSJUJOHT EFEJDBUFE UP UIF NBHJD PG 4BO 'SBODJTDP CZ GJHVSFT MJLF +PF %J.BHHJP +FSSZ (BSDJB .BSHBSFU $IP BOE $BSPM $IBOOJOH $PNF IFBS BCPVU IPX UIF DJUZ GFMU UP UIFN BOE SFGMFDU PO XIFUIFS JUÂľT UIF TBNF GPS ZPV UPEBZ

WEDNESDAY 15 Radical Directing Lecture Series: Shari Frilot 4BO 'SBODJTDP "SU *OTUJUVUF $IFTUOVU 4' XXX TGBJ FEV Q N GSFF 4IBSJ 'SJMPU JT UIF DVSBUPS PG UIF 4VOEBODF 'JMN 'FTUJWBMÂľT /FX 'SPOUJFS 1SPHSBN *O UIJT MFDUVSF TIF XJMM EJTDVTT UIF DJOFNBUJD XPSLT UIBU BSF CFJOH DSFBUFE BU UIF DSPTTSPBET XIFSF BSU GJMN BOE OFX NFEJB UFDIOPMPHZ NFFU

THURSDAY 16 “Coloring Outside the Lines: Black Cartoonists As Social Commentatorsâ€? panel discussion $JUZ $PMMFHF PG 4BO 'SBODJTDP +PIO "EBNT $BNQVT )BZFT 4' XXX DDTG FEV Q N Q N GSFF $BSUPPOJTUT BSF MJLF NPEFSO KFTUFST Âą UIFZ QPLF GVO BOE PGGFS DSJUJDJTN CVU XF DBOÂľU IFMQ CVU MPWF UIFN /PXIFSF JT UIJT NPSF BQQBSFOU UIBO JO GVOOJFT UIBU EFBM XJUI SBDF JO PVS TPDJFUZ +PJO DVSBUPS ,IFWFO -B(SPOF BOE HVFTUT JO B EJTDVTTJPO PG IPX CMBDL DBSUPPOJTUT IBWF CSPVHIU JO B XJEF SBOHF PG QFSTQFDUJWFT UP SBDJBM JTTVFT BOE TPDJBM QSFKVEJDFT “Project Censored with Mickey Huffâ€? book release event .PEFSO 5JNFT #PPLTUPSF $PMMFDUJWF UI 4U 4' XXX NUCT DPN Q N GSFF .BJOTUSFBN NFEJB TFFNT UP BJS NPSF TUPSJFT BCPVU DBUT SVOOJOH POUP TPDDFS QJUDIFT BOE . * " ÂľT NJEEMF GJOHFS UIBO SFMFWBOU OFXT "VUIPS .JDLFZ )VGG QSFTFOUT UIF UPQ VOEFS SFQPSUFE OFXT TUPSJFT ZPV NBZ IBWF NJTTFE BOE EFMWFT JO UP DFOTPSTIJQ JTTVFT JO UIF SFMFOUMFTT GJHIU BHBJOTU #JH .FEJB “Beyond Cage-Freeâ€? panel discussion 1PSU $PNNJTTJPO )FBSJOH 3PPN 'FSSZ #VJMEJOH &NCBSDBEFSP 4' XXX DVFTB PSH Q N Q N TVHHFTUFE EPOBUJPO 5IF DBHF GSFF MBCFM QSPNJTFT FHHT GSPN VOQFOOFE IFOT CVU DBO CFMJF GBSN FOWJSPONFOUT UIBU BSF NVDI NPSF USBHJD UIBO UIF IBQQZ QJDUVSF PO DBS UPOT XPVME MFBE VT UP CFMJFWF +PJO UIF $FOUFS GPS 6SCBO &EVDBUJPO BOE 4VTUBJOBCMF "HSJDVMUVSF JO B QBOFM EJTDVTTJPO XJUI -FYJDPO PG 4VTUBJOBCJMJUZ GPVOEFS %PVHMBT (BZFUPO 'FSSZ 1MB[B GBSNFST

Live Music, Beads, Jugglers, Stilt Walkers, Facepainting, Dancing, Drinks, Cajun Cuisine, DJ’s and more... Presented by:

FRIDAY 17 SF Beer Olympics *NQBMB #SPBEXBZ 4' XXX JNQBMBTG DPN Q N 5P TUBSU UIF OJHIU DPNQFUF JO B HBNF PG GMJQ DVQ CFFS QPOH BOE SFMBZT XJUI TUSBOHFST GSJFOET BOE TPPO UP CF GSJFOET "GUFSXBSET 0MZNQJD DIBN QJPOT BOE MPTFST BSF XFMDPNF UP NFBOEFS VQTUBJST GPS GSFF BENJTTJPO UP UIF *NQBMB OJHIU DMVC A night with photographer Robert Altman 8JY -PVOHF OE 4U 4' XXX XJYMPVOHFTG DPN Q N GSFF 3PCFSU "MUNBO OPU POMZ TVSWJWFE UIF ÂľT CVU QIPUP HSBQIFE TPNF PG UIF CFTU QBSUT PG JU )F XJMM CF UBMLJOH BCPVU IJT XPSL GPS 3PMMJOH 4UPOF BOE IJT FYQFSJFODFT QIPUPHSBQIJOH JDPOT MJLF .JDL +BHHFS BOE #JMM (SBIBN $PNF IBOH PVU XJUI UIJT BMM BSPVOE DPPM EVEF

SUNDAY 19

moNDAY 20

Art Beat Bazaar music, poetry, and pop-up indiemart 4UBSSZ 1MPVHI 4IBUUVDL #FSL XXX TUBSSZQMPVHIQVC DPN Q N GSFF 5IJT JT UIF GJSTU PG UIF NPOUIMZ DPNNVOJUZ FWFOU "SU #FBU 'PVOEBUJPO XJMM CF IPTUJOH BT B XBZ UP TIPXDBTF MPDBM NVTJDJBOT TQPLFO XPSE BSUJTUT DPNFEJBOT BOE WJTVBM BSUJTUT -FU GPML SPDL CBOE 6QTUBJST %PXOTUBJST CF UIF NVTJDBM TPVOEUSBDL UP ZPVS USJQ UP UIF RVJSLZ QPQ VQ TUPSF XIFSF ZPV XJMM GJOE IBOENBEF USFBTVSFT CZ BSUJTUT MJLF $PSJ $SPPLT BOE #SPXOJF Yiddish sing-along with Sharon Bernstein +FXJTI $PNNVOJUZ $FOUFS PG 4BO 'SBODJTDP $BMJGPSOJB 4' XXX KDDTG PSH Q N GSFF 5IJT NVTJDBM FWFOU JT POF QBSU PG ,MF[$BMJGPSOJBÂľT :JEEJTI $VMUVSF 'FTUJWBM B UISFF EBZ FWFOU GPS BOZPOF XIP JT JOUFSFTUFE JO :JEEJTI MJUFSB UVSF JOUFSBDUJPOT CFUXFFO NVTJDBM DVMUVSFT LMF[NFS NVTJD BOE PS &BTUFSO &VSPQFBO +FXJTI IJTUPSZ -ZSJD CPPLT XJMM CF QSPWJEFE

Open mic night with Les Gottesman and Bill Crossman #JSE BOE #FDLFUU #PPLT BOE 3FDPSET $IFOFSZ 4' XXX CJSECFDLFUU DPN Q N GSFF -FT (PUUFTNBO BOE #JMM $SPTTNBO BSF QPFUT BDUJWJTUT BOE QSPGFTTPST XIP BSF DPNJOH UP TIBSF UIFJS MBUFTU BOE GBWPSJUF XPSLT JO UIJT MJUFSBSZ OJHIU (PUUFTNBOÂľT XPSET BSF TBJE UP CF HPPTFCVNQ JOWPLJOH BOE $SPTTNBOÂľT TNPPUI QJBOP TLJMMT BSF OPU UP CF NJTTFE

TUESDAY 21 “Laissez les bons temps rouler� Mardis Gras party +B[[ )FSJUBHF $FOUFS 'JMMNPSF 4' XXX UIFGJMMNPSFEJTUSJDU DPN Q N GPS XSJTUCBOET .BLF JU B NFSSZ 'BU 5VFTEBZ UIJT ZFBS CZ HPJOH PVU UP UIF 'JMMNPSF %JTUSJDU GPS B OFJHICPSIPPE QBSUZ PG TUJMU XBMLFST KVHHMFST BOE GBDF QBJOUFST 'JMMNPSF 4USFFU WFOVFT XJMM IBWF MJWF NVTJD BOE .BSEJ

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SATURDAY 18 “A Love Supremeâ€? Harlem Renaissance art celebration 'JSTU 6OJUBSJBO $IVSDI PG 0BLMBOE UI 4U 0BLM XXX VVPBLMBOE PSH Q N Q N EPOBUJPOT BDDFQUFE 5IF )BSMFN 3FOBJTTBODF CSPVHIU PO BO FYQMPTJPO PG DVMUVSF BOE SFEFGJOFE NVTJD BSU BOE MJUFSBUVSF JO "NFSJDBO IJTUPSZ +PJO MPDBM RVFFS QPFUT PG DPMPS JO B EFMJDJPVT QPUMVDL EJOOFS BOE NVTJD QPFUSZ TFTTJPO UP DFMFCSBUF IPX DVMUVSBM SJDIOFTT BOE MJUFSBSZ TQMFOEPS IBWF OPU TUPQQFE HSPXJOH The Dark Wave book release party 'FDBM 'BDF %PU (BMMFSZ .JTTJPO 4' XXX GGEH OFU Q N GSFF :PV NBZ LOPX +BZ )PXFMM GSPN IJT [JOF 1VOLT (JU $VU XIFSF IF TLFUDIFE PVU BO BTTPSUNFOU PG OBLFE QFPQMF EPHT BOE CPOFST )PXFMM JT OPX CSJOHJOH IJT NBKFTUJD BSUXPSL BT UIF CBDLESPQ PG IJT OFX CPPL Âą B MJUFSBSZ UBMF PG B CMBDL NFUBM CBOEÂľT EJTFODIBOUFE MFBE TJOHFS

TUESDAY, FEBRUARY 21, 2012 5PM - 7PM Live music featuring Bobble Webb at the Fillmore Center Plaza 7PM - MIDNIGHT Live music, food and drink specials at venues along Fillmore Street including: The Fillmore Center Plaza, 1300 on Fillmore, Fat Angel Food and Libations, Bruno’s Pizzeria, Sheba Piano Lounge, Yoshi’s Jazz Club, Rasselas Jazz Club, Gussies Chicken and Waffles, and The Social Study

Purchase $5 wristband on eventbrite fattuesdayinthefillmore.eventbrite.com

A portion of proceeds will benefit the Jazz Heritage Center.

Check in to the Jazz Heritage Center located at 1320 Fillmore to pick up your Fat Tuesday in the Fillmore wristband. Wristbands will be available for purchase at door. (All attendees must purchase a wristband in order to receive specials at participating venues.)

Questions? Please contact: Meaghan@thefillmoredistrict.com or 415.218.3434

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FEBRUARY 15 - 21, 2012 / SFBG.com

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34 SAN FRANCISCO BAY GUARDIAN

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FeBRUARY 15 - 21, 2012 / SFBG.COm

35

film listings rep clock 4DIFEVMFT BSF GPS 8FE 5VFT FYDFQU XIFSF OPUFE %JSFDUPS BOE ZFBS BSF HJWFO XIFO BWBJMBCMF %PVCMF GFBUVSFT BSF NBSLFE XJUI B Â… "MM UJNFT Q N VOMFTT PUIFSXJTF TQFDJGJFE

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The STing

Friday February 17, 8pm (Doors open 7pm) Small time con man Hooker (Robert Redford) and “the greatest con man in the worldâ€?, Henry Gondorff (Paul Newman), launch an intricate scheme to defraud gangster Doyle Lonnegan (Robert Shaw) of his ill-gotten fortune. 4EVEQSYRX 1SZMI 'PEWWMGW MRGPYHI PMZI ;YVPMX^IV SVKER WIVIREHI (IG 3 ;MR VEJžI newsreel, cartoon and previews. Admission OnLY $5 ˆ ticketmaster.com or 800-745-3000

2025 Broadway, Oakland

36 SAN FRANCISCO BAY GUARDIAN

Take BART exit 19th St. station

510-465-6400

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Odyssey from Casablanca to Cape Town +BNFT BOE +BNFT 5IVST CASTRO $BTUSP 4' XXX DBTUSPUIFBUSF DPN The Skin I Live In "MNPEwWBS 8FE Â…Certified Copy ,JBSPTUBNJ 5IVST BOE Circumstance ,FTIBWBS[ 5IVST Â…Thunder Soul -BOETNBO 'SJ BOE Black Dynamite 4BOEFST 'SJ Sutro’s: The Palace at Lands End 8ZSTDI 4BU Â…The Lineup 4JFHFM 4BU BOE Invasion of the Body Snatchers 4JFHFM 4BU ²4DBSZ $PX 1SJNF $VUT 'JGUI "OOJWFSTBSZ 'JMN 'FTUJWBM &YUSBWBHBO[B Âł 4VO .PSF JOGP BU TDBSZDPX DPN QSJNFDVUT Hugo 3D 4DPSTFTF .PO CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI 4U 4BO 3BGBFM XXX DBGJMN PSH ²3BGBFM 'JMN $MVCÂł XJUI HVFTU %BWJE 5FNQMFUPO 5IVST Chico and Rita 5SVFCB 'FC DBMM GPS UJNFT ² 0TDBS /PNJOBUFE 4IPSU 'JMNT Âł OBSSBUJWF BOE EPDVNFOUBSZ TFQBSBUF BENJTTJPO DBMM GPS EBUFT BOE UJNFT DE YOUNG MUSEUM (PMEFO (BUF 1BSL )BHJXBSB 5FB (BSEFO %S 4' EFZPVOH GBNTG PSH 'SFF What’s Going On: The Life and Death of Marvin Gaye .BSSF 4VO 8JUI IPTU ,FWJO &QQT BOE NVTJD IJTUPSJBO 3JDLFZ 7JODFOU MECHANICS’ INSTITUTE 1PTU 4' STWQ!NJMJCSBSZ PSH ²$JOFNB-JU 'JMN 4FSJFT )PMMZXPPE %BNFT #FBVUZ BOE #SBJOT Âł Leave Her to Heaven 4UBIM 'SJ “NOISE POP FILM SERIESâ€? ".$ -PFXT .FUSFPO 'PVSUI 4U BU .JTTJPO 4' OPJTFQPQ DPN

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GJMN Re: Generation Music Project #BS -FW 5IVST BOE 'FC PACIFIC FILM ARCHIVE #BODSPGU #FSL CBNQGB CFSLFMFZ FEV ²"GSJDBO 'JMN 'FTUJWBM Âł Kongo: 50 Years of Independence in Congo 7BSJPVT EJSFDUPST 8FE ²4FDPOET PG &UFSOJUZ 5IF 'JMNT PG (SFHPSZ + .BSLPQPVMPT Âł The Illiac Passion 5IVST ²"VTUFSF 1FSGFDUJPOJTN 5IF 'JMNT PG 3PCFSU #SFTTPO Âł A Man Escaped 'SJ Une femme douce 4BU Four Nights of a Dreamer 4BU ²)PXBSE )BXLT 5IF .FBTVSF PG .BO Âł The Dawn Patrol 'SJ Only Angels Have Wings 5VFT ROXIE BOE UI 4U 4' XXX SPYJF DPN 4' *OEJF'FTU UISPVHI 'FC 7JTJU XXX TGJOEJF DPN GPS DPNQMFUF TDIFEVMF SAN FRANCISCO PUBLIC LIBRARY ,PSFU "VEJUPSJVN -BSLJO 4' XXX TGQM PSH 'SFF ²#BZ "SFB $PNNVOJUZ $JOFNB 4FSJFT Âł More Than a Month: One Man’s Journey to End Black History Month 5JMHINBO 5VFT SFFS | NEW PEOPLE CINEMA 1PTU 4' XXX TGGT PSH Once Upon a Time in Anatolia $FZMBO 8FE 5IVST Margaret -POFSHBO 'FC VORTEX ROOM )PXBSE 4' XXX NZTQBDF DPN UIFWPSUFYSPPN EPOBUJPO ²5IF 4FDPOE $PNJOH PG UIF 7PSUFY 3PPN Âł Zardoz #PPSNBO BOE The Night God Screamed .BEEFO 5IVST YERBA BUENA CENTER FOR THE ARTS .JTTJPO 4' XXX ZCDB PSH ²#SPT #FGPSF )PT Âł Meat Rack 5IPNBT 5IVST Steam of Life #FSHIBMM BOE )PUBLBJOFO 4VO 2

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Kf X[m\ik`j\ `e fli Ôcd j\Zk`fe ZXcc +(,$,/,$0'0/%

classifieds DONATE YOUR CAR, TRUCK OR BOAT TO HERITAGE FOR THE BLIND. Free 3 Day Vacation, Tax Deductible, Free Towing, All Paperwork Taken Care Of. 888-902-6851. (Cal-SCAN)

REACH CALIFORNIANS WITH A CLASSIFIED IN ALMOST EVERY COUNTY! Experience the power of classifieds! Combo~California Daily and Weekly Networks. One order. One payment. Free Brochures. maria@cnpa.com or (916)288-6010. (Cal-SCAN)

ALLIED HEALTH CAREER training - Attend college 100% online. Job placement assistance. Computer available. Financial Aid if qualified. SCHEV certified. Call 800481-9409. www.CenturaOnline.com (Cal-SCAN)

ACTORS/MOVIE EXTRAS Needed immediately for upcoming roles $150-$300/day depending on job requirements. No experience, all looks. 1-800560-8672 A-109. For casting times/locations. AWESOME TRAVEL JOB!!! $500 Sign-on Bonus. Unique Sales team looking for 10 young minded guys/gals to travel the US. Cash Daily. Loraine 877777-2091. (Cal-SCAN) Paid In Advance! Make $1000 a Week mailing brochures from home! Guaranteed Income! FREE Supplies! No experience required. Start Immediately! www.homemailerprogram.net (AAN CAN)

Sr. Software Engineer ON24, Inc in San Francisco, CA. Design and develop new backend services to support new features for the vshow platform. email resume to: Jennifer. smith@on24.com, attn: HR.Ref#ON7527.

Director, Network Operations & Lead Database Administrator ON24, Inc. San Francisco, CA. Oversee day to day operation of company’s Data Centers and Core Business Applications. Manage the company’s production UNIX, Linux and network infrastructure. Email resume to Jennifer.smith@on24.com attn: HR. Ref# ON6586.

SSR Trade Now Hiring! SSR TRADE is offering a position of Payment

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Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easyworkjobs.com (AAN CAN)

PREGNANT? CONSIDERING ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions 866-413-6293 (Void in Illinois) (AAN CAN)

— ANANDA FUARA on Saturday evening 2/4/12 —

Dining across from each other at Ananda Fuara Restaurant on Saturday 2/4/12 @ 6:307:30pm. You: attractive, wholesome, reading your book ‘The Detox Solution’. We spoke briefly. I was rushing to the Symphony but wish very much to talk with you again!

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340644-00 The following person is doing business as Flash Car Service 239 Santa Dominga Ave., San Bruno, CA 94066. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date January 20, 2012. Signed by Vania Pinheiro. This statement was filed by Maribel Jaldon, Deputy County Clerk on January 20, 2012. L#113514, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340747-00 The following person is doing business as Pak Enterprises 283 4th Ave #4, San Francisco, CA 94118. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date January 24, 2012. Signed by Jung Pak. This statement was filed by Jennifer Wong, Deputy County Clerk on January 24, 2012. L#113521, February 8, 15, 22 and 29, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340880-00 The following person is doing business as Change Gently Energy Work 1029 B Fell Street, San Francisco, CA 94117. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date January 27, 2012. Signed by Julia Conner. This statement was filed by Alex Liang, Deputy County Clerk on January 27, 2012. L#113519, February 1, 8, 15 and 22, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341070-00 The following person is doing business as J Q Autotech 845 Polk Street, San Francisco, CA 94109. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date February 6, 2012. Signed by Yao Liu, President. This statement was filed by Susanna Chin, Deputy County Clerk on February 6, 2012. L#113525, February 8, 15, 22 and 29, 2012 STATEMENT OF ABANDONMENT OF USE OF FICTITIOUS BUSINESS NAME The registrant listed below have abandoned the use of the fictitious business name 850 850 Folsom Street, San Francisco, CA 94107. The fictitious business name was filed in the County of San Francisco under File# 0339748-00 on: 11/30/2011. NAME AND ADDRESS OF REGISTRANTS (as shown on previous statement): Triple Crown Inc 850 Folsom St. San Francisco, CA 94107. This business was conducted by a corporation. Signed Tommy Cheng, President. Dated: December 20, 2011 by Alan Wong, Deputy County Clerk. #113512 January 25, February 1, 8 and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340519-00 The following person is doing business as 1. Sashas Dive Services 2. Art Invention Music 951 Hudson Ave. , San Francisco, CA 94124. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date January 12, 2012. Signed by Sasha Leitman. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on January 12, 2012. L#113515, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340527-00 The following person is doing business as Holding Ground Productions 55 van Buren Street, San Francisco, CA 94131. This business is conducted by a general partnership. Registrant commenced business under the above-listed fictitious business name on the date January 13, 2012. Signed by Mark A. Lipman. This statement was filed by Magdalena Zevallos, Deputy County Clerk on January 13, 2012. L#113513, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340554-00 The following person is doing business as Robertís Espresso 1708 Irving Street, San Francisco, CA 94122. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date January 17, 2012. Signed by Robert Ayanian. This statement was filed by Melissa Ortiz, Deputy County Clerk on January 17, 2012. L#113516, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340605-00 The following person is doing business as Ganimís Market 1135 18th Street, San Francisco, CA 94107. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date January 3, 2012. Signed by Isa Ganim, President. This statement was filed by Maribel Jaldon, Deputy County Clerk on January 18, 2012. L#113517, February 1, 8, 15 and 22, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340812-00 The following person is doing business as Twin Peak Consulting 315 28th Street, San Francisco, CA 94131. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date November 11, 2011. Signed by Alan Tabor. This statement was filed by Melissa Ortiz, Deputy County Clerk on January 28, 2012. L#113520, February 8, 15, 22 and 29, 2012

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